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[
"Neil Diamond",
"The 1990s",
"What was his first album of the 1990s?",
"During the 1990s, Diamond produced six studio albums.",
"Can you name one of them?",
"I don't know.",
"What was significant about the 90s for DIamond?",
"He also released two Christmas albums, the first of which peaked at No. 8 on Billboard's Album chart.",
"Did he do any touring or live performances?",
"In 1992, he performed for President George H.W. Bush's final Christmas in Washington NBC special.",
"What did he sing at the Bush special?",
"I don't know."
]
| C_6f0606366650496dab9bd961c9715fe5_0 | What other performances did he give? | 6 | What performances did Neil Diamond give in the 1990s other than the 1992 Christmas in Washington special? | Neil Diamond | During the 1990s, Diamond produced six studio albums. He covered many classics from the movies and from famous Brill Building-era songwriters. He also released two Christmas albums, the first of which peaked at No. 8 on Billboard's Album chart. Diamond also recorded two albums of mostly new material during this period. In 1992, he performed for President George H.W. Bush's final Christmas in Washington NBC special. In 1993, Diamond opened the Mark of the Quad Cities (now the iWireless Center) with two shows on May 27 and 28 to a crowd of 27,000-plus. The 1990s saw a resurgence in Diamond's popularity. "Sweet Caroline" became a popular sing-along at sporting events. It was used at Boston College football and basketball games. College sporting events in other states also played it, and it was even played at sports events in other countries, such as a Hong Kong Sevens rugby tournament or a soccer match in Northern Ireland. Most notably, it became the theme song of Red Sox Nation, the fans of the Boston Red Sox. The song also came to be played during the 8th inning of every New York Mets home game. The New York Rangers also adapted it as their own, and played it whenever they were winning at the end of the 3rd period of their games. The Pitt Panthers football team also played it after the third quarter of all home games, with the crowd cheering, "Let's go Pitt". The Carolina Panthers played it at the end of every home game they won. The Davidson College pep band likewise played it at every Davidson Wildcats men's basketball home game, in the second half. CANNOTANSWER | In 1993, Diamond opened the Mark of the Quad Cities (now the iWireless Center) with two shows on May 27 and 28 to a crowd of 27,000-plus. | Neil Leslie Diamond (born January 24, 1941) is an American singer-songwriter, musician and occasional actor. He has sold more than 100 million records worldwide, making him one of the best-selling musicians of all time. He has had ten No. 1 singles on the Hot 100 and Adult Contemporary charts: "Cracklin' Rosie", "Song Sung Blue", "Longfellow Serenade", "I've Been This Way Before", "If You Know What I Mean", "Desirée", "You Don't Bring Me Flowers", "America", "Yesterday's Songs", and "Heartlight". Thirty-eight songs by Diamond have been featured in the Top 10 on the Billboard Adult Contemporary charts. He also played in movies such as The Jazz Singer, a musical drama film.
Diamond was inducted into the Songwriters Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 2011, and he received the Sammy Cahn Lifetime Achievement Award in 2000. In 2011, he was an honoree at the Kennedy Center Honors, and he received the Grammy Lifetime Achievement Award in 2018.
Early life and education
Diamond was born in Brooklyn, New York, to a Jewish family. All four of his grandparents were immigrants, from Poland on his father's side and Russia on his mother's. His parents were Rose (née Rapoport) and Akeeba "Kieve" Diamond, a dry-goods merchant. He grew up in several homes in Brooklyn, having also spent four years in Cheyenne, Wyoming, where his father was stationed in the army. In Brooklyn he attended Erasmus Hall High School and was a member of the Freshman Chorus and Choral Club, along with classmate Barbra Streisand; Diamond recalled they were not close friends at the time: "We were two poor kids in Brooklyn. We hung out in the front of Erasmus High and smoked cigarettes." After his family moved to Brighton Beach, he attended Abraham Lincoln High School and was a member of the fencing team. Also on the team was his best friend, future Olympic fencer Herb Cohen.
For his 16th birthday, he received his first guitar. When he was 16 and still in high school, Diamond spent a number of weeks at Surprise Lake Camp, a camp for Jewish children in upstate New York, when folk singer Pete Seeger performed a small concert. Seeing the widely recognized singer perform, and watching other children singing songs for Seeger that they wrote themselves, had an immediate effect on Diamond, who then became aware of the possibility of writing his own songs. "And the next thing, I got a guitar when we got back to Brooklyn, started to take lessons and almost immediately began to write songs," he said. He added that his attraction to songwriting was the "first real interest" he had growing up, while also helping him release his youthful "frustrations".
Diamond also used his newly developing skill to write poetry. By writing poems for girls he was attracted to in school, he soon learned it often won their hearts. His male classmates took note and began asking him to write poems for them, which they would sing and use with equal success. He spent the summer following his graduation as a waiter in the Catskills resort area. There he first met Jaye Posner, who would years later become his wife.
Diamond next attended New York University as a pre-med major on a fencing scholarship, again on the fencing team with Herb Cohen. He was a member of the 1960 NCAA men's championship fencing team. Often bored in class, he found writing song lyrics more to his liking. He began cutting classes and taking the train up to Tin Pan Alley, where he tried to get some of his songs heard by local music publishers. In his senior year, when he was just 10 units short of graduation, Sunbeam Music Publishing offered him a 16-week job writing songs for $50 a week (equivalent to about US$ per week, in dollars), and he dropped out of college to accept it.
Career
1960s
Diamond was not rehired after his 16 weeks with Sunbeam, and he began writing and singing his own songs for demos. "I never really chose songwriting," he says. "It just absorbed me and became more and more important in my life." His first recording contract was billed as "Neil and Jack", an Everly Brothers-type duet with high school friend Jack Packer. They recorded the unsuccessful singles "You Are My Love at Last" with "What Will I Do", and "I'm Afraid" with "Till You've Tried Love", both records released in 1962. Cashbox and Billboard magazines gave all four sides excellent reviews, and Diamond signed with Columbia Records as a solo performer later in 1962. In July 1963, Columbia released the single "At Night" with "Clown Town"; Billboard gave an excellent review to Clown Town, and Cashbox gave both sides excellent reviews, but it still failed to make the charts. Columbia dropped him from their label and he went back to writing songs in and out of publishing houses for the next seven years.
He wrote wherever he could, including on buses, and used an upright piano above the Birdland Club in New York City. One of the causes of this early nomadic life as a songwriter was his songs' wordiness: "I'd spent a lot of time on lyrics, and they were looking for hooks, and I didn't really understand the nature of that," he says. He was able to sell only about one song a week during those years, barely enough to survive on. He found himself only earning enough to spend 35 cents a day on food (US$ in dollars). But the privacy that he had above the Birdland Club allowed him to focus on writing without distractions. "Something new began to happen. I wasn't under the gun, and suddenly interesting songs began to happen, songs that had things none of the others did." Among them were "Cherry, Cherry" and "Solitary Man". "Solitary Man" was the first record that Diamond recorded under his own name which made the charts. It remains one of his personal all-time favorites, as it was about his early years as a songwriter, even though he failed to realize it at the time. He describes the song as "an outgrowth of my despair".
Diamond spent his early career in the Brill Building. His first success as a songwriter came in November 1965 with "Sunday and Me", a Top 20 hit for Jay and the Americans. Greater success followed with "I'm a Believer", "A Little Bit Me, a Little Bit You", "Look Out (Here Comes Tomorrow)", and "Love to Love", all performed by the Monkees. He wrote and recorded the songs for himself, but the cover versions were released before his own. The unintended consequence was that Diamond began to gain fame as a songwriter. "I'm a Believer" became a gold record within two days of its release and stayed at the top of the charts for seven weeks, making it the Popular Music Song of the Year in 1966.
"And the Grass Won't Pay No Mind" brought covers from Elvis Presley (who also interpreted "Sweet Caroline") and Mark Lindsay, former lead singer for Paul Revere & the Raiders. Other notable artists who recorded his early songs were the English hard-rock band Deep Purple, Lulu, and Cliff Richard.
In 1966, Diamond signed a deal with Bert Berns's Bang Records, then a subsidiary of Atlantic. His first release on that label was "Solitary Man", which was his first true hit as a solo artist. Diamond followed with "Cherry, Cherry" and "Kentucky Woman". His early concerts featured him opening for bands such as Herman's Hermits and the Who. As a guest performer with The Who, he was shocked to see Pete Townshend swinging his guitar like a club and then throwing it against walls and off the stage until the instrument's neck broke.
Diamond began to feel restricted by Bang Records because he wanted to record more ambitious, introspective music, such as "Brooklyn Roads" from 1968. Berns wanted to release "Kentucky Woman" as a single, but Diamond was no longer satisfied writing simple pop songs, so he proposed "Shilo", which was not about the Civil War but rather an imaginary childhood friend. Bang believed that the song was not commercial enough, so it was relegated to being an LP track on "Just for You". Diamond was also dissatisfied with his royalties and tried to sign with another record label after discovering a loophole in his contract that did not bind him exclusively to either WEB IV or Tallyrand, but the result was a series of lawsuits that coincided with a slump in his record sales and professional success. A magistrate refused WEB IV's request for a temporary injunction to prevent Diamond from joining another record company while his contract dispute continued in court, but the lawsuits persisted until February 18, 1977, when he triumphed in court and purchased the rights to his Bang-era master tapes.
On March 18, 1968, Diamond signed a deal with Uni Records; the label was named after Universal Pictures, the owner of which, MCA Inc., later consolidated its labels into MCA Records (now called Universal Music after merging with PolyGram in 1999). His debut album for Uni/MCA was Velvet Gloves and Spit, produced by Tom Catalano, which did not chart, and he recorded the follow-up Brother Love's Traveling Salvation Show at American Sound Studios in Memphis with Tommy Cogbill and Chips Moman producing.
1970s
In late 1969, he moved to Los Angeles. His sound mellowed with such songs as "Sweet Caroline" (1969), "Holly Holy" (1969), "Cracklin' Rosie" (1970) and "Song Sung Blue" (1972), the last two reaching No. 1 on the Hot 100. "Sweet Caroline" was Diamond's first major hit after his slump. In 2007 Diamond said he had written "Sweet Caroline" for Caroline Kennedy after seeing her on the cover of Life in an equestrian riding outfit, but in 2014 he said in an interview on the Today Show that it was written for his then wife, Marcia. He could not find a good rhyme with the name "Marcia" and so used the name Caroline. It took him just one hour, in a Memphis hotel, to write and compose it. The 1971 release "I Am...I Said" was a Top 5 hit in both the US and UK and was his most intensely personal effort to date, taking over four months to complete.
In 1971, Diamond played 7 sold-out concerts at the Greek Theater in Los Angeles. The outdoor theater, which was noted for showcasing the best of current entertainers, added a stereo sound system for the first time. Diamond was also backed by a 35-piece string orchestra and six backing singers. After the first night, one leading newspaper called it "the finest concert in Greek Theater history."
In August 1972, he played again at the Greek, this time doing 10 shows. When the show was first announced, tickets at the 5000-seat theater sold out rapidly. He added a quadraphonic sound system for his performance to create full surround-sound. The performance of August 24, 1972, was recorded and released as the live double album Hot August Night. Hot August Night demonstrates Diamond's skills as a performer and showman, as he reinvigorated his back catalogue of hits with new energy. Diamond recalled: "Hot August Night captures a very special show for me. We went all out to really knock 'em dead in L.A." Many consider it his best work; critic Stephen Thomas Erlewine called Hot August Night "the ultimate Neil Diamond record... [which] shows Diamond the icon in full glory." The album became a classic, and was remastered in 2000 with additional selections. In Australia, which at the time had the most Neil Diamond fans per capita of any country, the album ranked No. 1 for 29 weeks and stayed in their top 20 bestsellers for two years.
In the fall of 1972, Diamond performed for 20 consecutive nights at the Winter Garden Theater in New York City. That theater had not staged a one-man show since Al Jolson in the 1930s. The approximately 1,600-seat Broadway venue provided an intimate concert setting not common at the time, with every performance reportedly sold out. It also made Diamond the first rock-era star to headline on Broadway. The review in the New York Times stated:
After the Winter Garden shows, Diamond announced that he needed a break, and he engaged in no more live performances till 1976. He used those four years to work on the score for Hall Bartlett's film version of Richard Bach's Jonathan Livingston Seagull and to record two albums, Serenade and Beautiful Noise. He said years later, "I knew I'd come back, but I wasn't sure when. I spent one year on each of those albums...I'd been on the road six years. I had a son 2½ and I felt he needed me more than the audience did. So for four years I devoted myself to my son Jesse." He also said he needed to get back to having a private life, one where he could be anonymous.
In 1973, Diamond switched labels again, returning to Columbia Records for a million-dollar-advance-per-album contract (about US$ million per album in dollars). His first project, released as a solo album, was the soundtrack to Jonathan Livingston Seagull. The film received hostile reviews and did poorly at the box office, and the album grossed more than the film did. Richard D. Bach, author of the best-selling source story, disowned the film, and he and Diamond sued Bartlett, though for differing reasons; in Bach's case, it was because he felt the film omitted too much from the original novella, whereas in Diamond's case, it was because he felt the film had butchered his score. "After 'Jonathan,'" Diamond declared, "I vowed never to get involved in a movie again unless I had complete control." Bartlett angrily responded to Diamond's lawsuit by criticizing his music as having become "too slick...and it's not as much from his heart as it used to be." Bartlett also added, "Neil is extraordinarily talented. Often his arrogance is just a cover for the lonely and insecure person underneath."
Despite the controversy surrounding the film, the soundtrack was a success, peaking at No. 2 on the Billboard albums chart. Diamond also won a Golden Globe Award for Best Original Score and a Grammy Award for Best Score Soundtrack Album for a Motion Picture. Thereafter, Diamond often included a Jonathan Livingston Seagull suite in his live performances, as he did in his 1976 "Love at the Greek" concert and for his show in Las Vegas that same year.
Diamond returned to live shows in 1976 with an Australian tour, "The 'Thank You Australia' Concert", which was broadcast to 36 television outlets nationwide. He also again appeared at the Greek Theater in a 1976 concert, Love at the Greek. An album and accompanying video/DVD of the show includes a version of "Song Sung Blue" with duets with Helen Reddy and Henry Winkler, a.k.a. Arthur "The Fonz" Fonzarelli of Happy Days.
He began wearing colorful beaded shirts in concert, originally so that everyone in the audience could see him without binoculars. Bill Whitten designed and made the shirts for Diamond from the 1970s till approximately 2007.
In 1974, Diamond released the album Serenade, from which "Longfellow Serenade" and "I've Been This Way Before" were issued as singles. The latter had been intended for the Jonathan Livingston Seagull score, but Diamond had completed it too late for inclusion. That same year he appeared on a TV special for Shirley Bassey and sang a duet with her.
In 1976, he released Beautiful Noise, produced by Robbie Robertson of The Band. On Thanksgiving 1976, Diamond made an appearance at The Band's farewell concert, The Last Waltz, performing "Dry Your Eyes", which he wrote jointly with Robertson, and which had appeared on Beautiful Noise. He also joined the rest of the performers onstage at the end in a rendition of Bob Dylan's "I Shall Be Released".
Diamond was paid $650,000 (about US$ million in dollars) from the Aladdin Hotel in Las Vegas, Nevada, to open its new $10 million Theater For the Performing Arts on July 2, 1976. The show played through July 5 and drew sold-out crowds at the 7,500-seat theater. A "who's who" of Hollywood attended opening night, ranging from Elizabeth Taylor to Chevy Chase, and Diamond walked out on stage to a standing ovation. He opened the show with a story about an ex-girlfriend who dumped him before he became successful. His lead-in line to the first song of the evening was, "You may have dumped me a bit too soon, baby, because look who's standing here tonight."
He performed at Woburn Abbey on July 2, 1977, to an audience of 55,000 British fans. The concert and interviews were taped by film director William Friedkin, who used six cameras to capture the performance.
In 1977, Diamond released I'm Glad You're Here With Me Tonight, including "You Don't Bring Me Flowers", for which he composed the music and on the writing of whose lyrics he collaborated with Alan Bergman and Marilyn Bergman. Barbra Streisand covered the song on her album Songbird, and later, a Diamond-Streisand duet was recorded, spurred by the success of radio mash-ups. That version hit No. 1 in 1978, his third song to top the Hot 100. They appeared unannounced at the 1980 Grammy awards ceremony, where they performed the song to a surprised and rapturous audience.
His last 1970s album was September Morn, which included a new version of "I'm a Believer". It and "Red Red Wine" are his best-known original songs made more famous by other artists. In February 1979, the uptempo "Forever in Blue Jeans", co-written and jointly composed with his guitarist, Richard Bennett, was released as a single from You Don't Bring Me Flowers, Diamond's album from the previous year.
In 1979, Diamond collapsed on stage in San Francisco and was taken to the hospital, where he endured a 12-hour operation to remove what turned out to be a tumor on his spine. He said he had been losing feeling in his right leg "for a number of years but ignored it." When he collapsed, he had no strength in either leg. He underwent a long rehabilitation process just before starting principal photography on his film The Jazz Singer (1980). He was so convinced he was going to die that he wrote farewell letters to his friends.
1980s
A planned film version of "You Don't Bring Me Flowers" to star Diamond and Streisand fell through when Diamond instead starred in a 1980 remake of the Al Jolson classic The Jazz Singer alongside Laurence Olivier and Lucie Arnaz. Though the movie received poor reviews, the soundtrack spawned three Top 10 singles, "Love on the Rocks", "Hello Again", and "America", the last of which had emotional significance for Diamond. "'America' was the story of my grandparents," he told an interviewer. "It's my gift to them, and it's very real for me ... In a way, it speaks to the immigrant in all of us." The song was performed in full by Diamond during the film's finale. An abbreviated version played over the film's opening titles.
The song was also the one he was most proud of, partly because of when it was later used: national news shows played it when the hostages were shown returning home after the Iran hostage crisis ended; it was played on the air during the 100th anniversary of the Statue of Liberty; and at a tribute to slain civil rights leader Martin Luther King Jr., as well as the Vietnam Vets Welcome Home concert, he was asked to perform it live. At the time, a national poll found the song to be the number-one most recognized song about America, more than "God Bless America". It also became the anthem of his world tour two weeks after the attacks on America on September 11, 2001, when he changed the lyric at the end from; "They're coming to America", to "Stand up for America!" Earlier that year he performed it after a request from former heavyweight champion Muhammad Ali.
The film's failure was due in part to Diamond never having acted professionally before. "I didn't think I could handle it," he said later, seeing himself as "a fish out of water." For his performance, Diamond became the first-ever winner of a Worst Actor Razzie Award, even though he was nominated for a Golden Globe Award for the same role. Critic David Wild noted that the film showed that Diamond was open about his religion: "Who else but this Jewish Elvis could go multi-platinum with an album that featured a version of 'the Kol Nidre?'" Diamond later told the Los Angeles Times, "For me, this was the ultimate bar mitzvah."
Another Top 10 selection, "Heartlight", was inspired by the blockbuster 1982 movie E.T. The Extra-Terrestrial. Though the film's title character is never mentioned in the lyrics, Universal Pictures, which had released E.T. The Extra-Terrestrial and was the parent company of the Uni Records label, by then called MCA Records, for which Diamond had recorded for years, briefly threatened legal action against both Diamond and Columbia Records.
Diamond's record sales slumped somewhat in the 1980s and 1990s, his last single to make the Billboard's Pop Singles chart coming in 1986, but his concert tours continued to be big draws. Billboard magazine ranked Diamond as the most profitable solo performer of 1986. He released his 17th studio album in 1986, Headed for the Future, which reached number 20 on the Billboard 200. Three weeks later he starred in Hello Again, his first television special in nine years, performing comedy sketches and a duo medley with Carol Burnett.
In January 1987, Diamond sang the national anthem at the Super Bowl. His "America" became the theme song for the Michael Dukakis 1988 presidential campaign. That same year, UB40's reggae interpretation of Diamond's ballad "Red Red Wine" topped the Billboard Pop Singles chart and, like the Monkees' version of "I'm a Believer", became better known than Diamond's original version.
1990s
During the 1990s, Diamond produced six studio albums. He covered many classic songs from the movies and from famous Brill Building-era songwriters. He also released two Christmas albums, the first of which peaked at No. 8 on Billboard's Album chart. Diamond also recorded two albums of mostly new material during this period. In 1992, he performed for President George H.W. Bush's final Christmas in Washington NBC special. In 1993, Diamond opened the Mark of the Quad Cities (now the iWireless Center) with two shows on May 27 and 28 to a crowd of 27,000-plus.
The 1990s saw a resurgence in Diamond's popularity. "Sweet Caroline" became a popular sing-along at sporting events. It was used at Boston College football and basketball games. College sporting events in other states also played it, and it was even played at sports events in other countries, such as a Hong Kong Sevens rugby tournament or a soccer match in Northern Ireland. It is played at every home game of the Sydney Swans of the Australian Football League. It became the theme song of Red Sox Nation, the fans of the Boston Red Sox.
The New York Rangers also adapted it as their own and played it whenever they were winning at the end of the third period of their games. The Pitt Panthers football team also played it after the third quarter of all home games, with the crowd cheering, "Let's go Pitt". The Carolina Panthers played it at the end of every home game they won. The Davidson College pep band likewise played it in the second half of every Davidson Wildcats men's basketball home game.
2000s
A more severely stripped-down-to-basics album, 12 Songs, produced by Rick Rubin, was released on November 8, 2005, in two editions: a standard 12-song release, and a special edition with two bonus tracks, including one featuring backing vocals by Brian Wilson. The album debuted at No. 4 on the Billboard chart, and received generally positive reviews; Earliwine describes the album as "inarguably Neil Diamond's best set of songs in a long, long time." 12 Songs also became noteworthy as one of the last albums to be pressed and released by Sony BMG with the Extended Copy Protection software embedded in the disc. (See the 2005 Sony BMG CD copy protection scandal.)
In 2007, Diamond was inducted into the Long Island Music Hall of Fame.
On March 19, 2008, it was announced on the television show American Idol that Diamond would be a guest mentor to the remaining Idol contestants, who would sing Diamond songs for the broadcasts of April 29 and 30, 2008. On the April 30 broadcast, Diamond premiered a new song, "Pretty Amazing Grace", from his then recently released album Home Before Dark. On May 2, 2008, Sirius Satellite Radio started Neil Diamond Radio. On April 8, 2008, Diamond made a surprise announcement in a big-screen broadcast at Fenway Park that he would be appearing there "live in concert" on August 23, 2008, as part of his world tour. The announcement, which marked the first official confirmation of any 2008 concert dates in the US, came during the traditional eighth-inning singalong of "Sweet Caroline", which had by that time become an anthem for Boston fans.
On April 28, 2008, Diamond appeared on the roof of the Jimmy Kimmel building to sing "Sweet Caroline" after Kimmel was jokingly arrested for singing the song dressed as a Diamond impersonator.
Home Before Dark was released May 6, 2008, and topped the album charts in New Zealand, the United Kingdom and the United States.
On June 29, 2008, Diamond played to an estimated 108,000 fans at the Glastonbury Festival in Somerset, England on the Concert of a Lifetime Tour; technical problems marred the concert.
In August, Diamond allowed cameras to record his entire four-night run at New York's Madison Square Garden; he released the resulting DVD in the U.S. in 2009, one year to the day of the first concert. Hot August Night/NYC debuted at No. 2 on the charts. On the same day the DVD was released, CBS aired an edited version, which won the ratings hour with 13 million viewers. The next day, the sales of the DVD surged, prompting Sony to order more copies to meet the high demand.
On August 25, 2008, Diamond performed at The Ohio State University while suffering from laryngitis. The result disappointed him as well as his fans, and on August 26, he offered refunds to anyone who applied by September 5.
Diamond was honored as the MusiCares Person of the Year on February 6, 2009, two nights before the 51st Annual Grammy Awards.
Long loved in Boston, Diamond was invited to sing at the July 4, 2009, Independence Day celebration.
On October 13, 2009, he released A Cherry Cherry Christmas, his third album of holiday music.
2010s
On November 2, 2010, Diamond released the album Dreams, a collection of 14 interpretations of his favorite songs by artists from the rock era. The album also included a new slow-tempo arrangement of his "I'm a Believer". In December, he performed a track from the album, "Ain't No Sunshine", on NBC's The Sing-Off with Committed and Street Corner Symphony, two a cappella groups featured on the show. The Very Best of Neil Diamond, a compilation CD of Diamond's 23 studio recordings from the Bang, UNI/MCA, & Columbia catalogs, was released on December 6, 2011, on the Sony Legacy label.
The years 2011 and 2012 were marked by several milestones in Diamond's career. On March 14, 2011, he was inducted into the Rock and Roll Hall of Fame at a ceremony at the Waldorf-Astoria Hotel in New York City. In December, he received a lifetime achievement award from the Kennedy Center at the 2011 Kennedy Center Honors. On August 10, 2012, Diamond received a star on the Hollywood Walk of Fame. In November 2012, he topped the bill at the centenary edition of the Royal Variety Performance in the UK, which was transmitted on December 3. He also appeared in the Macy's Thanksgiving Day Parade.
On April 20, 2013, Diamond made an unannounced appearance at Fenway Park to sing "Sweet Caroline" during the 8th inning. It was the first game at Fenway since the Boston Marathon bombing. On July 2, he released the single "Freedom Song (They'll Never Take Us Down)", with 100% of the purchase price benefiting One Fund Boston and the Wounded Warrior Project.
Sporting a beard, Diamond performed live on the west lawn of the U.S. Capitol as part of A Capitol Fourth, which was broadcast nationally by PBS on July 4, 2013.
In January 2014, it was confirmed that Diamond had signed with the Capitol Music Group unit of Universal Music Group, which also owned Diamond's Uni/MCA catalog. UMG also took over Diamond's Columbia and Bang catalogues, which meant that all of his recorded output would be consolidated for the first time.
On July 8, 2014, Capitol Records announced, via a flyer included with Diamond's latest greatest hits compilations, All-Time Greatest Hits, which charted at 15 in the Billboard 200, that his next album, Melody Road, which was to be produced by Don Was and Jacknife Lee, would be released on September 30, 2014. In August, the release date was moved to October 21.
In September 2014, Diamond performed a surprise concert at his alma mater, Erasmus High School in Brooklyn. The show was announced via Twitter that afternoon. On the same day, he announced a 2015 "Melody Road" World Tour. The North American leg of the World Tour 2015 launched with a concert in Allentown, PA at the PPL Center on February 27 and ended at the Pepsi Center in Denver, Colorado on May 31, 2015. Diamond used new media platforms and social media extensively throughout the tour, streaming several shows live on Periscope and showing tweets from fans who used the hashtag #tweetcaroline on two large screens. The San Diego Union-Tribune wrote: "This, my friends, wasn’t your grandfather's Neil Diamond concert. It was a multimedia extravaganza. Twitter. Periscope...It was a social media blitzkrieg that, by all accounts, proved to be an innovative way to widen his fan base."
In October 2016, Diamond released Acoustic Christmas, a folk-inspired Christmas album of original songs as well as acoustic versions of holiday classics. Produced by Was and Lee, who had produced Melody Road, the idea for the album began to take shape as the Melody Road sessions ended. To "channel the intimate atmosphere of '60s folk, Diamond recorded Acoustic Christmas with a handful of musicians, sitting around a circle of microphones, wires and, of course, Christmas lights."
In March 2017, the career-spanning anthology Neil Diamond 50 – 50th Anniversary Collection was released. He began his final concert tour, the 50 Year Anniversary World Tour in Fresno, California, in April.
In 2019, his 1969 signature song "Sweet Caroline" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".
2020s
On March 7, 2020, despite his retirement due to Parkinson's disease, Diamond gave a rare performance at the Keep Memory Alive Power of Love Gala at the MGM Grand Garden Arena in Las Vegas, where he was being honored.
On March 22, 2020, Diamond posted a video to YouTube playing "Sweet Caroline" with slightly modified lyrics ("...washing hands, don't touch me, I won't touch you...") in response to the widespread social distancing measures implemented due to the worldwide COVID-19 pandemic.
In April 2021, The New York Times reported that A Beautiful Noise, a musical based on Diamond's life and featuring his songs, would open at the Emerson Colonial Theater in Boston in the summer of 2022. The musical was scheduled to open on Broadway following the monthlong run in Boston.
Universal Music Group acquired Diamond's songwriting catalog and the rights to his recordings in February 2022. The acquisition also included 110 unreleased tracks, an unreleased album and archival videos.
Retirement
In January 2018, Diamond announced that he would immediately retire from touring due to having been diagnosed with Parkinson's disease. Tour dates on the final leg of Diamond's "50 Year Anniversary World Tour" in Australia and New Zealand were cancelled. An announcement on his official website said he was not retiring from music and that the cancellation of the live performances would allow him to "continue his writing, recording and development of new projects."
On July 28, 2018, Diamond and his wife Katie McNeil made a surprise visit to the Incident Command post in Basalt, Colorado—near where Diamond lives—to thank the firefighters and families with a solo acoustic guitar concert for efforts in containing the Lake Christine Fire, which began on July 3 and had scorched of land.
In pop culture
In 1967, Diamond was featured on the fourth episode of the detective drama Mannix as the 'featured' artist in a small underground club called 'The BAD SCENE' and was interrupted during his singing by one of many fights that took place weekly on the show.
In 2000, Neil Diamond appeared onstage with Diamond tribute band, Super Diamond, surprising them before their show at House of Blues in Los Angeles.
In the 2001 comedy film Saving Silverman, the main characters play in a Diamond cover band, and Diamond made an extended cameo appearance as himself. Diamond even wrote and composed a new song, "I Believe in Happy Endings", for the film. He sat in with the tribute band Super Diamond at the film's premiere party.
In 2008, Diamond gave film-maker Greg Kohs permission to use his songs in a documentary. Kohs, a director from Philadelphia, had met a popular Milwaukee, Wisconsin, duo, Lightning & Thunder, composed of Mike Sardina, who did a Diamond impersonation, and his wife Claire. Kohs followed them for eight years and produced the film Song Sung Blue. Though Sardina had died in 2006, Diamond invited his widow and her family to be his front-row guests at his show in Milwaukee, where he told them he was moved by the film.
In the CBS comedy The Big Bang Theory, main characters Howard Wolowitz and Amy Farrah-Fowler are fans of Diamond's work.
Personal life
Diamond has been married three times. In 1963, he married his high-school sweetheart, Jaye Posner, who had become a schoolteacher. They had two daughters, Marjorie and Elyn. They separated in 1967 and divorced in 1969.
On December 5, 1969, Diamond married production assistant Marcia Murphey. They had two sons, Jesse and Micah. The marriage lasted 25 years, ending in 1994 or 1995.
In 1996, Diamond began a lengthy, live-in relationship with Australian Rae Farley after the two met in Brisbane, Australia. The songs on Home Before Dark were written and composed during her struggle with chronic back pain.
On September 7, 2011, in a message on Twitter, the 70-year-old Diamond announced his engagement to the 41-year-old Katie McNeil. Diamond said that his 2014 album Melody Road was fueled by their relationship, explaining:
There's no better inspiration or motivation for work than being in love. It's what you dream of as a creative person. I was able to complete this album—start it, write it and complete it—under the spell of love, and I think it shows somehow.
The couple married in front of family and close friends in Los Angeles in 2012. In addition to serving as Diamond's manager, McNeil produced the documentary Neil Diamond: Hot August Nights NYC.
Discography
Filmography
Diamond had a television appearance and roles in some movies, notably:
Mannix, "The Many Deaths of Saint Christopher" (1967) as himself
The Jazz Singer, starring role as Jess Robin
Saving Silverman appearing as himself
Notes
References
External links
Neil Diamond's Band's Official Site
1941 births
Living people
20th-century American guitarists
20th-century American pianists
20th-century American singers
21st-century American pianists
21st-century American singers
Abraham Lincoln High School (Brooklyn) alumni
American acoustic guitarists
American baritones
American folk guitarists
American male guitarists
American male pianists
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American rock songwriters
American soft rock musicians
American people of Polish-Jewish descent
American people of Russian-Jewish descent
Jewish American musicians
Jewish American songwriters
Jewish singers
Jewish folk singers
Jewish rock musicians
Erasmus Hall High School alumni
Capitol Records artists
Columbia Records artists
MCA Records artists
NYU Violets fencers
Uni Records artists
Golden Globe Award-winning musicians
Grammy Lifetime Achievement Award winners
Kennedy Center honorees
Rhythm guitarists
Musicians from Brooklyn
Guitarists from New York City
Singers from New York City
People with Parkinson's disease
Singer-songwriters from New York (state) | true | [
"Nathan Nugent is an Irish film editor known for working with director Lenny Abrahamson.\n\nFor Abrahamson, Nugent edited What Richard Did (2012), Frank (2014), and Room (2015). At the 10th Irish Film & Television Awards in 2013, Nugent won Best Editing for What Richard Did.\n\nWhile working on Frank, Nugent told Abrahamson he would be interested in editing Room based on having read the novel of the same name. Nugent also served as second-unit director. He described his editing of Room as simplistic, keeping the acting intact, while working in Dublin for five months. However, child actor Jacob Tremblay's part was filmed in numerous takes so Tremblay could give variations of his performances of specific lines, so Abrahamson and Nugent had to assemble and splice the different takes in the editing process.\n\nFor Room, a Canadian co-production, Nugent won the Canadian Screen Award for Best Editing in March 2016. In April, he won the Irish Film & Television Award for Best Editing.\n\nReferences\n\nExternal links\nNathan Nugent at the Internet Movie Database\n\n21st-century Irish people\nBest Editing Genie and Canadian Screen Award winners\nIrish film editors\nLiving people\nYear of birth missing (living people)",
"Antonín (Anthony) Kammel (April 21, 1730 – October 5, 1784) was a Bohemian composer and violinist of the Classical period. He is known for his instrumental works composed primarily for strings, though he did compose a few sinfonias and divertimentos that included wind instruments. His music incorporates many features of other Classical period works as well as elements reminiscent of Czech folk music.\n\nLife \nAntonín Kammel was born in Běleč, in what is now the Czech Republic on April 21, 1730. Kammel's father worked as a forester on the estate of Count Vincent Ferrerus Waldstein and it was from him that Kammel gained his knowledge of forestry and likely came into contact with Count Waldstein.\n\nKammel studied music at the Patres Piares College, Slaný from 1746-1751 and an unconfirmed subject, thought to be philosophy, at Prague University from 1751-1753. It is unknown when Kammel came into the employment of Count Waldstein, but at an unknown date in the late 1750s (based on letters from Kammel to Waldstein), Walstein sent Kammel to Padua, Italy to study the violin under tutelage of Guiseppe Tartini. After studying in Italy, Kammel returned to the Waldstein estate for a few years, during which he gave performances and violin lessons.\n\nIn early 1765, Kammel traveled to London, England, where he continued to give performances and worked as a salesman, selling wood for ships' masts on Count Waldstein's behalf.\n\nWhile in England, Kammel published several of his own compositions and gave performances alongside other leading composers and musicians of the time. He frequently performed and published with both Johann Christian Bach and Carl Friedrich Abel, based on concert programs from the time and joint publications such as the music seller Johann Julius Hummel's 1778 publication of a collection of six trios for two violins and violoncello by the three composers. In 2021, a painting attributed to Thomas Gainsborough was identified as of Antonín Kammel. \n\nOn January 20, 1768, Kammel was married to Ann Edicatt and between 1770 and 1779 they had six children together.\n\nAntonín Kammel died on October 5, 1784.\n\nWorks \nA full list of Antonín Kammel's works can be found at Oxford Music Online and the International Music Score Library Project (see External Links below).\n\nReferences\n\nExternal links\n\n1730 births\n1780s deaths\nClassical-period composers\nCzech classical composers\nCzech male classical composers\n18th-century classical composers\n18th-century male musicians\nString quartet composers"
]
|
[
"Neil Diamond",
"The 1990s",
"What was his first album of the 1990s?",
"During the 1990s, Diamond produced six studio albums.",
"Can you name one of them?",
"I don't know.",
"What was significant about the 90s for DIamond?",
"He also released two Christmas albums, the first of which peaked at No. 8 on Billboard's Album chart.",
"Did he do any touring or live performances?",
"In 1992, he performed for President George H.W. Bush's final Christmas in Washington NBC special.",
"What did he sing at the Bush special?",
"I don't know.",
"What other performances did he give?",
"In 1993, Diamond opened the Mark of the Quad Cities (now the iWireless Center) with two shows on May 27 and 28 to a crowd of 27,000-plus."
]
| C_6f0606366650496dab9bd961c9715fe5_0 | What happened with his 2nd Christmas album? | 7 | What happened with Neil Diamond's 2nd Christmas album? | Neil Diamond | During the 1990s, Diamond produced six studio albums. He covered many classics from the movies and from famous Brill Building-era songwriters. He also released two Christmas albums, the first of which peaked at No. 8 on Billboard's Album chart. Diamond also recorded two albums of mostly new material during this period. In 1992, he performed for President George H.W. Bush's final Christmas in Washington NBC special. In 1993, Diamond opened the Mark of the Quad Cities (now the iWireless Center) with two shows on May 27 and 28 to a crowd of 27,000-plus. The 1990s saw a resurgence in Diamond's popularity. "Sweet Caroline" became a popular sing-along at sporting events. It was used at Boston College football and basketball games. College sporting events in other states also played it, and it was even played at sports events in other countries, such as a Hong Kong Sevens rugby tournament or a soccer match in Northern Ireland. Most notably, it became the theme song of Red Sox Nation, the fans of the Boston Red Sox. The song also came to be played during the 8th inning of every New York Mets home game. The New York Rangers also adapted it as their own, and played it whenever they were winning at the end of the 3rd period of their games. The Pitt Panthers football team also played it after the third quarter of all home games, with the crowd cheering, "Let's go Pitt". The Carolina Panthers played it at the end of every home game they won. The Davidson College pep band likewise played it at every Davidson Wildcats men's basketball home game, in the second half. CANNOTANSWER | CANNOTANSWER | Neil Leslie Diamond (born January 24, 1941) is an American singer-songwriter, musician and occasional actor. He has sold more than 100 million records worldwide, making him one of the best-selling musicians of all time. He has had ten No. 1 singles on the Hot 100 and Adult Contemporary charts: "Cracklin' Rosie", "Song Sung Blue", "Longfellow Serenade", "I've Been This Way Before", "If You Know What I Mean", "Desirée", "You Don't Bring Me Flowers", "America", "Yesterday's Songs", and "Heartlight". Thirty-eight songs by Diamond have been featured in the Top 10 on the Billboard Adult Contemporary charts. He also played in movies such as The Jazz Singer, a musical drama film.
Diamond was inducted into the Songwriters Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 2011, and he received the Sammy Cahn Lifetime Achievement Award in 2000. In 2011, he was an honoree at the Kennedy Center Honors, and he received the Grammy Lifetime Achievement Award in 2018.
Early life and education
Diamond was born in Brooklyn, New York, to a Jewish family. All four of his grandparents were immigrants, from Poland on his father's side and Russia on his mother's. His parents were Rose (née Rapoport) and Akeeba "Kieve" Diamond, a dry-goods merchant. He grew up in several homes in Brooklyn, having also spent four years in Cheyenne, Wyoming, where his father was stationed in the army. In Brooklyn he attended Erasmus Hall High School and was a member of the Freshman Chorus and Choral Club, along with classmate Barbra Streisand; Diamond recalled they were not close friends at the time: "We were two poor kids in Brooklyn. We hung out in the front of Erasmus High and smoked cigarettes." After his family moved to Brighton Beach, he attended Abraham Lincoln High School and was a member of the fencing team. Also on the team was his best friend, future Olympic fencer Herb Cohen.
For his 16th birthday, he received his first guitar. When he was 16 and still in high school, Diamond spent a number of weeks at Surprise Lake Camp, a camp for Jewish children in upstate New York, when folk singer Pete Seeger performed a small concert. Seeing the widely recognized singer perform, and watching other children singing songs for Seeger that they wrote themselves, had an immediate effect on Diamond, who then became aware of the possibility of writing his own songs. "And the next thing, I got a guitar when we got back to Brooklyn, started to take lessons and almost immediately began to write songs," he said. He added that his attraction to songwriting was the "first real interest" he had growing up, while also helping him release his youthful "frustrations".
Diamond also used his newly developing skill to write poetry. By writing poems for girls he was attracted to in school, he soon learned it often won their hearts. His male classmates took note and began asking him to write poems for them, which they would sing and use with equal success. He spent the summer following his graduation as a waiter in the Catskills resort area. There he first met Jaye Posner, who would years later become his wife.
Diamond next attended New York University as a pre-med major on a fencing scholarship, again on the fencing team with Herb Cohen. He was a member of the 1960 NCAA men's championship fencing team. Often bored in class, he found writing song lyrics more to his liking. He began cutting classes and taking the train up to Tin Pan Alley, where he tried to get some of his songs heard by local music publishers. In his senior year, when he was just 10 units short of graduation, Sunbeam Music Publishing offered him a 16-week job writing songs for $50 a week (equivalent to about US$ per week, in dollars), and he dropped out of college to accept it.
Career
1960s
Diamond was not rehired after his 16 weeks with Sunbeam, and he began writing and singing his own songs for demos. "I never really chose songwriting," he says. "It just absorbed me and became more and more important in my life." His first recording contract was billed as "Neil and Jack", an Everly Brothers-type duet with high school friend Jack Packer. They recorded the unsuccessful singles "You Are My Love at Last" with "What Will I Do", and "I'm Afraid" with "Till You've Tried Love", both records released in 1962. Cashbox and Billboard magazines gave all four sides excellent reviews, and Diamond signed with Columbia Records as a solo performer later in 1962. In July 1963, Columbia released the single "At Night" with "Clown Town"; Billboard gave an excellent review to Clown Town, and Cashbox gave both sides excellent reviews, but it still failed to make the charts. Columbia dropped him from their label and he went back to writing songs in and out of publishing houses for the next seven years.
He wrote wherever he could, including on buses, and used an upright piano above the Birdland Club in New York City. One of the causes of this early nomadic life as a songwriter was his songs' wordiness: "I'd spent a lot of time on lyrics, and they were looking for hooks, and I didn't really understand the nature of that," he says. He was able to sell only about one song a week during those years, barely enough to survive on. He found himself only earning enough to spend 35 cents a day on food (US$ in dollars). But the privacy that he had above the Birdland Club allowed him to focus on writing without distractions. "Something new began to happen. I wasn't under the gun, and suddenly interesting songs began to happen, songs that had things none of the others did." Among them were "Cherry, Cherry" and "Solitary Man". "Solitary Man" was the first record that Diamond recorded under his own name which made the charts. It remains one of his personal all-time favorites, as it was about his early years as a songwriter, even though he failed to realize it at the time. He describes the song as "an outgrowth of my despair".
Diamond spent his early career in the Brill Building. His first success as a songwriter came in November 1965 with "Sunday and Me", a Top 20 hit for Jay and the Americans. Greater success followed with "I'm a Believer", "A Little Bit Me, a Little Bit You", "Look Out (Here Comes Tomorrow)", and "Love to Love", all performed by the Monkees. He wrote and recorded the songs for himself, but the cover versions were released before his own. The unintended consequence was that Diamond began to gain fame as a songwriter. "I'm a Believer" became a gold record within two days of its release and stayed at the top of the charts for seven weeks, making it the Popular Music Song of the Year in 1966.
"And the Grass Won't Pay No Mind" brought covers from Elvis Presley (who also interpreted "Sweet Caroline") and Mark Lindsay, former lead singer for Paul Revere & the Raiders. Other notable artists who recorded his early songs were the English hard-rock band Deep Purple, Lulu, and Cliff Richard.
In 1966, Diamond signed a deal with Bert Berns's Bang Records, then a subsidiary of Atlantic. His first release on that label was "Solitary Man", which was his first true hit as a solo artist. Diamond followed with "Cherry, Cherry" and "Kentucky Woman". His early concerts featured him opening for bands such as Herman's Hermits and the Who. As a guest performer with The Who, he was shocked to see Pete Townshend swinging his guitar like a club and then throwing it against walls and off the stage until the instrument's neck broke.
Diamond began to feel restricted by Bang Records because he wanted to record more ambitious, introspective music, such as "Brooklyn Roads" from 1968. Berns wanted to release "Kentucky Woman" as a single, but Diamond was no longer satisfied writing simple pop songs, so he proposed "Shilo", which was not about the Civil War but rather an imaginary childhood friend. Bang believed that the song was not commercial enough, so it was relegated to being an LP track on "Just for You". Diamond was also dissatisfied with his royalties and tried to sign with another record label after discovering a loophole in his contract that did not bind him exclusively to either WEB IV or Tallyrand, but the result was a series of lawsuits that coincided with a slump in his record sales and professional success. A magistrate refused WEB IV's request for a temporary injunction to prevent Diamond from joining another record company while his contract dispute continued in court, but the lawsuits persisted until February 18, 1977, when he triumphed in court and purchased the rights to his Bang-era master tapes.
On March 18, 1968, Diamond signed a deal with Uni Records; the label was named after Universal Pictures, the owner of which, MCA Inc., later consolidated its labels into MCA Records (now called Universal Music after merging with PolyGram in 1999). His debut album for Uni/MCA was Velvet Gloves and Spit, produced by Tom Catalano, which did not chart, and he recorded the follow-up Brother Love's Traveling Salvation Show at American Sound Studios in Memphis with Tommy Cogbill and Chips Moman producing.
1970s
In late 1969, he moved to Los Angeles. His sound mellowed with such songs as "Sweet Caroline" (1969), "Holly Holy" (1969), "Cracklin' Rosie" (1970) and "Song Sung Blue" (1972), the last two reaching No. 1 on the Hot 100. "Sweet Caroline" was Diamond's first major hit after his slump. In 2007 Diamond said he had written "Sweet Caroline" for Caroline Kennedy after seeing her on the cover of Life in an equestrian riding outfit, but in 2014 he said in an interview on the Today Show that it was written for his then wife, Marcia. He could not find a good rhyme with the name "Marcia" and so used the name Caroline. It took him just one hour, in a Memphis hotel, to write and compose it. The 1971 release "I Am...I Said" was a Top 5 hit in both the US and UK and was his most intensely personal effort to date, taking over four months to complete.
In 1971, Diamond played 7 sold-out concerts at the Greek Theater in Los Angeles. The outdoor theater, which was noted for showcasing the best of current entertainers, added a stereo sound system for the first time. Diamond was also backed by a 35-piece string orchestra and six backing singers. After the first night, one leading newspaper called it "the finest concert in Greek Theater history."
In August 1972, he played again at the Greek, this time doing 10 shows. When the show was first announced, tickets at the 5000-seat theater sold out rapidly. He added a quadraphonic sound system for his performance to create full surround-sound. The performance of August 24, 1972, was recorded and released as the live double album Hot August Night. Hot August Night demonstrates Diamond's skills as a performer and showman, as he reinvigorated his back catalogue of hits with new energy. Diamond recalled: "Hot August Night captures a very special show for me. We went all out to really knock 'em dead in L.A." Many consider it his best work; critic Stephen Thomas Erlewine called Hot August Night "the ultimate Neil Diamond record... [which] shows Diamond the icon in full glory." The album became a classic, and was remastered in 2000 with additional selections. In Australia, which at the time had the most Neil Diamond fans per capita of any country, the album ranked No. 1 for 29 weeks and stayed in their top 20 bestsellers for two years.
In the fall of 1972, Diamond performed for 20 consecutive nights at the Winter Garden Theater in New York City. That theater had not staged a one-man show since Al Jolson in the 1930s. The approximately 1,600-seat Broadway venue provided an intimate concert setting not common at the time, with every performance reportedly sold out. It also made Diamond the first rock-era star to headline on Broadway. The review in the New York Times stated:
After the Winter Garden shows, Diamond announced that he needed a break, and he engaged in no more live performances till 1976. He used those four years to work on the score for Hall Bartlett's film version of Richard Bach's Jonathan Livingston Seagull and to record two albums, Serenade and Beautiful Noise. He said years later, "I knew I'd come back, but I wasn't sure when. I spent one year on each of those albums...I'd been on the road six years. I had a son 2½ and I felt he needed me more than the audience did. So for four years I devoted myself to my son Jesse." He also said he needed to get back to having a private life, one where he could be anonymous.
In 1973, Diamond switched labels again, returning to Columbia Records for a million-dollar-advance-per-album contract (about US$ million per album in dollars). His first project, released as a solo album, was the soundtrack to Jonathan Livingston Seagull. The film received hostile reviews and did poorly at the box office, and the album grossed more than the film did. Richard D. Bach, author of the best-selling source story, disowned the film, and he and Diamond sued Bartlett, though for differing reasons; in Bach's case, it was because he felt the film omitted too much from the original novella, whereas in Diamond's case, it was because he felt the film had butchered his score. "After 'Jonathan,'" Diamond declared, "I vowed never to get involved in a movie again unless I had complete control." Bartlett angrily responded to Diamond's lawsuit by criticizing his music as having become "too slick...and it's not as much from his heart as it used to be." Bartlett also added, "Neil is extraordinarily talented. Often his arrogance is just a cover for the lonely and insecure person underneath."
Despite the controversy surrounding the film, the soundtrack was a success, peaking at No. 2 on the Billboard albums chart. Diamond also won a Golden Globe Award for Best Original Score and a Grammy Award for Best Score Soundtrack Album for a Motion Picture. Thereafter, Diamond often included a Jonathan Livingston Seagull suite in his live performances, as he did in his 1976 "Love at the Greek" concert and for his show in Las Vegas that same year.
Diamond returned to live shows in 1976 with an Australian tour, "The 'Thank You Australia' Concert", which was broadcast to 36 television outlets nationwide. He also again appeared at the Greek Theater in a 1976 concert, Love at the Greek. An album and accompanying video/DVD of the show includes a version of "Song Sung Blue" with duets with Helen Reddy and Henry Winkler, a.k.a. Arthur "The Fonz" Fonzarelli of Happy Days.
He began wearing colorful beaded shirts in concert, originally so that everyone in the audience could see him without binoculars. Bill Whitten designed and made the shirts for Diamond from the 1970s till approximately 2007.
In 1974, Diamond released the album Serenade, from which "Longfellow Serenade" and "I've Been This Way Before" were issued as singles. The latter had been intended for the Jonathan Livingston Seagull score, but Diamond had completed it too late for inclusion. That same year he appeared on a TV special for Shirley Bassey and sang a duet with her.
In 1976, he released Beautiful Noise, produced by Robbie Robertson of The Band. On Thanksgiving 1976, Diamond made an appearance at The Band's farewell concert, The Last Waltz, performing "Dry Your Eyes", which he wrote jointly with Robertson, and which had appeared on Beautiful Noise. He also joined the rest of the performers onstage at the end in a rendition of Bob Dylan's "I Shall Be Released".
Diamond was paid $650,000 (about US$ million in dollars) from the Aladdin Hotel in Las Vegas, Nevada, to open its new $10 million Theater For the Performing Arts on July 2, 1976. The show played through July 5 and drew sold-out crowds at the 7,500-seat theater. A "who's who" of Hollywood attended opening night, ranging from Elizabeth Taylor to Chevy Chase, and Diamond walked out on stage to a standing ovation. He opened the show with a story about an ex-girlfriend who dumped him before he became successful. His lead-in line to the first song of the evening was, "You may have dumped me a bit too soon, baby, because look who's standing here tonight."
He performed at Woburn Abbey on July 2, 1977, to an audience of 55,000 British fans. The concert and interviews were taped by film director William Friedkin, who used six cameras to capture the performance.
In 1977, Diamond released I'm Glad You're Here With Me Tonight, including "You Don't Bring Me Flowers", for which he composed the music and on the writing of whose lyrics he collaborated with Alan Bergman and Marilyn Bergman. Barbra Streisand covered the song on her album Songbird, and later, a Diamond-Streisand duet was recorded, spurred by the success of radio mash-ups. That version hit No. 1 in 1978, his third song to top the Hot 100. They appeared unannounced at the 1980 Grammy awards ceremony, where they performed the song to a surprised and rapturous audience.
His last 1970s album was September Morn, which included a new version of "I'm a Believer". It and "Red Red Wine" are his best-known original songs made more famous by other artists. In February 1979, the uptempo "Forever in Blue Jeans", co-written and jointly composed with his guitarist, Richard Bennett, was released as a single from You Don't Bring Me Flowers, Diamond's album from the previous year.
In 1979, Diamond collapsed on stage in San Francisco and was taken to the hospital, where he endured a 12-hour operation to remove what turned out to be a tumor on his spine. He said he had been losing feeling in his right leg "for a number of years but ignored it." When he collapsed, he had no strength in either leg. He underwent a long rehabilitation process just before starting principal photography on his film The Jazz Singer (1980). He was so convinced he was going to die that he wrote farewell letters to his friends.
1980s
A planned film version of "You Don't Bring Me Flowers" to star Diamond and Streisand fell through when Diamond instead starred in a 1980 remake of the Al Jolson classic The Jazz Singer alongside Laurence Olivier and Lucie Arnaz. Though the movie received poor reviews, the soundtrack spawned three Top 10 singles, "Love on the Rocks", "Hello Again", and "America", the last of which had emotional significance for Diamond. "'America' was the story of my grandparents," he told an interviewer. "It's my gift to them, and it's very real for me ... In a way, it speaks to the immigrant in all of us." The song was performed in full by Diamond during the film's finale. An abbreviated version played over the film's opening titles.
The song was also the one he was most proud of, partly because of when it was later used: national news shows played it when the hostages were shown returning home after the Iran hostage crisis ended; it was played on the air during the 100th anniversary of the Statue of Liberty; and at a tribute to slain civil rights leader Martin Luther King Jr., as well as the Vietnam Vets Welcome Home concert, he was asked to perform it live. At the time, a national poll found the song to be the number-one most recognized song about America, more than "God Bless America". It also became the anthem of his world tour two weeks after the attacks on America on September 11, 2001, when he changed the lyric at the end from; "They're coming to America", to "Stand up for America!" Earlier that year he performed it after a request from former heavyweight champion Muhammad Ali.
The film's failure was due in part to Diamond never having acted professionally before. "I didn't think I could handle it," he said later, seeing himself as "a fish out of water." For his performance, Diamond became the first-ever winner of a Worst Actor Razzie Award, even though he was nominated for a Golden Globe Award for the same role. Critic David Wild noted that the film showed that Diamond was open about his religion: "Who else but this Jewish Elvis could go multi-platinum with an album that featured a version of 'the Kol Nidre?'" Diamond later told the Los Angeles Times, "For me, this was the ultimate bar mitzvah."
Another Top 10 selection, "Heartlight", was inspired by the blockbuster 1982 movie E.T. The Extra-Terrestrial. Though the film's title character is never mentioned in the lyrics, Universal Pictures, which had released E.T. The Extra-Terrestrial and was the parent company of the Uni Records label, by then called MCA Records, for which Diamond had recorded for years, briefly threatened legal action against both Diamond and Columbia Records.
Diamond's record sales slumped somewhat in the 1980s and 1990s, his last single to make the Billboard's Pop Singles chart coming in 1986, but his concert tours continued to be big draws. Billboard magazine ranked Diamond as the most profitable solo performer of 1986. He released his 17th studio album in 1986, Headed for the Future, which reached number 20 on the Billboard 200. Three weeks later he starred in Hello Again, his first television special in nine years, performing comedy sketches and a duo medley with Carol Burnett.
In January 1987, Diamond sang the national anthem at the Super Bowl. His "America" became the theme song for the Michael Dukakis 1988 presidential campaign. That same year, UB40's reggae interpretation of Diamond's ballad "Red Red Wine" topped the Billboard Pop Singles chart and, like the Monkees' version of "I'm a Believer", became better known than Diamond's original version.
1990s
During the 1990s, Diamond produced six studio albums. He covered many classic songs from the movies and from famous Brill Building-era songwriters. He also released two Christmas albums, the first of which peaked at No. 8 on Billboard's Album chart. Diamond also recorded two albums of mostly new material during this period. In 1992, he performed for President George H.W. Bush's final Christmas in Washington NBC special. In 1993, Diamond opened the Mark of the Quad Cities (now the iWireless Center) with two shows on May 27 and 28 to a crowd of 27,000-plus.
The 1990s saw a resurgence in Diamond's popularity. "Sweet Caroline" became a popular sing-along at sporting events. It was used at Boston College football and basketball games. College sporting events in other states also played it, and it was even played at sports events in other countries, such as a Hong Kong Sevens rugby tournament or a soccer match in Northern Ireland. It is played at every home game of the Sydney Swans of the Australian Football League. It became the theme song of Red Sox Nation, the fans of the Boston Red Sox.
The New York Rangers also adapted it as their own and played it whenever they were winning at the end of the third period of their games. The Pitt Panthers football team also played it after the third quarter of all home games, with the crowd cheering, "Let's go Pitt". The Carolina Panthers played it at the end of every home game they won. The Davidson College pep band likewise played it in the second half of every Davidson Wildcats men's basketball home game.
2000s
A more severely stripped-down-to-basics album, 12 Songs, produced by Rick Rubin, was released on November 8, 2005, in two editions: a standard 12-song release, and a special edition with two bonus tracks, including one featuring backing vocals by Brian Wilson. The album debuted at No. 4 on the Billboard chart, and received generally positive reviews; Earliwine describes the album as "inarguably Neil Diamond's best set of songs in a long, long time." 12 Songs also became noteworthy as one of the last albums to be pressed and released by Sony BMG with the Extended Copy Protection software embedded in the disc. (See the 2005 Sony BMG CD copy protection scandal.)
In 2007, Diamond was inducted into the Long Island Music Hall of Fame.
On March 19, 2008, it was announced on the television show American Idol that Diamond would be a guest mentor to the remaining Idol contestants, who would sing Diamond songs for the broadcasts of April 29 and 30, 2008. On the April 30 broadcast, Diamond premiered a new song, "Pretty Amazing Grace", from his then recently released album Home Before Dark. On May 2, 2008, Sirius Satellite Radio started Neil Diamond Radio. On April 8, 2008, Diamond made a surprise announcement in a big-screen broadcast at Fenway Park that he would be appearing there "live in concert" on August 23, 2008, as part of his world tour. The announcement, which marked the first official confirmation of any 2008 concert dates in the US, came during the traditional eighth-inning singalong of "Sweet Caroline", which had by that time become an anthem for Boston fans.
On April 28, 2008, Diamond appeared on the roof of the Jimmy Kimmel building to sing "Sweet Caroline" after Kimmel was jokingly arrested for singing the song dressed as a Diamond impersonator.
Home Before Dark was released May 6, 2008, and topped the album charts in New Zealand, the United Kingdom and the United States.
On June 29, 2008, Diamond played to an estimated 108,000 fans at the Glastonbury Festival in Somerset, England on the Concert of a Lifetime Tour; technical problems marred the concert.
In August, Diamond allowed cameras to record his entire four-night run at New York's Madison Square Garden; he released the resulting DVD in the U.S. in 2009, one year to the day of the first concert. Hot August Night/NYC debuted at No. 2 on the charts. On the same day the DVD was released, CBS aired an edited version, which won the ratings hour with 13 million viewers. The next day, the sales of the DVD surged, prompting Sony to order more copies to meet the high demand.
On August 25, 2008, Diamond performed at The Ohio State University while suffering from laryngitis. The result disappointed him as well as his fans, and on August 26, he offered refunds to anyone who applied by September 5.
Diamond was honored as the MusiCares Person of the Year on February 6, 2009, two nights before the 51st Annual Grammy Awards.
Long loved in Boston, Diamond was invited to sing at the July 4, 2009, Independence Day celebration.
On October 13, 2009, he released A Cherry Cherry Christmas, his third album of holiday music.
2010s
On November 2, 2010, Diamond released the album Dreams, a collection of 14 interpretations of his favorite songs by artists from the rock era. The album also included a new slow-tempo arrangement of his "I'm a Believer". In December, he performed a track from the album, "Ain't No Sunshine", on NBC's The Sing-Off with Committed and Street Corner Symphony, two a cappella groups featured on the show. The Very Best of Neil Diamond, a compilation CD of Diamond's 23 studio recordings from the Bang, UNI/MCA, & Columbia catalogs, was released on December 6, 2011, on the Sony Legacy label.
The years 2011 and 2012 were marked by several milestones in Diamond's career. On March 14, 2011, he was inducted into the Rock and Roll Hall of Fame at a ceremony at the Waldorf-Astoria Hotel in New York City. In December, he received a lifetime achievement award from the Kennedy Center at the 2011 Kennedy Center Honors. On August 10, 2012, Diamond received a star on the Hollywood Walk of Fame. In November 2012, he topped the bill at the centenary edition of the Royal Variety Performance in the UK, which was transmitted on December 3. He also appeared in the Macy's Thanksgiving Day Parade.
On April 20, 2013, Diamond made an unannounced appearance at Fenway Park to sing "Sweet Caroline" during the 8th inning. It was the first game at Fenway since the Boston Marathon bombing. On July 2, he released the single "Freedom Song (They'll Never Take Us Down)", with 100% of the purchase price benefiting One Fund Boston and the Wounded Warrior Project.
Sporting a beard, Diamond performed live on the west lawn of the U.S. Capitol as part of A Capitol Fourth, which was broadcast nationally by PBS on July 4, 2013.
In January 2014, it was confirmed that Diamond had signed with the Capitol Music Group unit of Universal Music Group, which also owned Diamond's Uni/MCA catalog. UMG also took over Diamond's Columbia and Bang catalogues, which meant that all of his recorded output would be consolidated for the first time.
On July 8, 2014, Capitol Records announced, via a flyer included with Diamond's latest greatest hits compilations, All-Time Greatest Hits, which charted at 15 in the Billboard 200, that his next album, Melody Road, which was to be produced by Don Was and Jacknife Lee, would be released on September 30, 2014. In August, the release date was moved to October 21.
In September 2014, Diamond performed a surprise concert at his alma mater, Erasmus High School in Brooklyn. The show was announced via Twitter that afternoon. On the same day, he announced a 2015 "Melody Road" World Tour. The North American leg of the World Tour 2015 launched with a concert in Allentown, PA at the PPL Center on February 27 and ended at the Pepsi Center in Denver, Colorado on May 31, 2015. Diamond used new media platforms and social media extensively throughout the tour, streaming several shows live on Periscope and showing tweets from fans who used the hashtag #tweetcaroline on two large screens. The San Diego Union-Tribune wrote: "This, my friends, wasn’t your grandfather's Neil Diamond concert. It was a multimedia extravaganza. Twitter. Periscope...It was a social media blitzkrieg that, by all accounts, proved to be an innovative way to widen his fan base."
In October 2016, Diamond released Acoustic Christmas, a folk-inspired Christmas album of original songs as well as acoustic versions of holiday classics. Produced by Was and Lee, who had produced Melody Road, the idea for the album began to take shape as the Melody Road sessions ended. To "channel the intimate atmosphere of '60s folk, Diamond recorded Acoustic Christmas with a handful of musicians, sitting around a circle of microphones, wires and, of course, Christmas lights."
In March 2017, the career-spanning anthology Neil Diamond 50 – 50th Anniversary Collection was released. He began his final concert tour, the 50 Year Anniversary World Tour in Fresno, California, in April.
In 2019, his 1969 signature song "Sweet Caroline" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".
2020s
On March 7, 2020, despite his retirement due to Parkinson's disease, Diamond gave a rare performance at the Keep Memory Alive Power of Love Gala at the MGM Grand Garden Arena in Las Vegas, where he was being honored.
On March 22, 2020, Diamond posted a video to YouTube playing "Sweet Caroline" with slightly modified lyrics ("...washing hands, don't touch me, I won't touch you...") in response to the widespread social distancing measures implemented due to the worldwide COVID-19 pandemic.
In April 2021, The New York Times reported that A Beautiful Noise, a musical based on Diamond's life and featuring his songs, would open at the Emerson Colonial Theater in Boston in the summer of 2022. The musical was scheduled to open on Broadway following the monthlong run in Boston.
Universal Music Group acquired Diamond's songwriting catalog and the rights to his recordings in February 2022. The acquisition also included 110 unreleased tracks, an unreleased album and archival videos.
Retirement
In January 2018, Diamond announced that he would immediately retire from touring due to having been diagnosed with Parkinson's disease. Tour dates on the final leg of Diamond's "50 Year Anniversary World Tour" in Australia and New Zealand were cancelled. An announcement on his official website said he was not retiring from music and that the cancellation of the live performances would allow him to "continue his writing, recording and development of new projects."
On July 28, 2018, Diamond and his wife Katie McNeil made a surprise visit to the Incident Command post in Basalt, Colorado—near where Diamond lives—to thank the firefighters and families with a solo acoustic guitar concert for efforts in containing the Lake Christine Fire, which began on July 3 and had scorched of land.
In pop culture
In 1967, Diamond was featured on the fourth episode of the detective drama Mannix as the 'featured' artist in a small underground club called 'The BAD SCENE' and was interrupted during his singing by one of many fights that took place weekly on the show.
In 2000, Neil Diamond appeared onstage with Diamond tribute band, Super Diamond, surprising them before their show at House of Blues in Los Angeles.
In the 2001 comedy film Saving Silverman, the main characters play in a Diamond cover band, and Diamond made an extended cameo appearance as himself. Diamond even wrote and composed a new song, "I Believe in Happy Endings", for the film. He sat in with the tribute band Super Diamond at the film's premiere party.
In 2008, Diamond gave film-maker Greg Kohs permission to use his songs in a documentary. Kohs, a director from Philadelphia, had met a popular Milwaukee, Wisconsin, duo, Lightning & Thunder, composed of Mike Sardina, who did a Diamond impersonation, and his wife Claire. Kohs followed them for eight years and produced the film Song Sung Blue. Though Sardina had died in 2006, Diamond invited his widow and her family to be his front-row guests at his show in Milwaukee, where he told them he was moved by the film.
In the CBS comedy The Big Bang Theory, main characters Howard Wolowitz and Amy Farrah-Fowler are fans of Diamond's work.
Personal life
Diamond has been married three times. In 1963, he married his high-school sweetheart, Jaye Posner, who had become a schoolteacher. They had two daughters, Marjorie and Elyn. They separated in 1967 and divorced in 1969.
On December 5, 1969, Diamond married production assistant Marcia Murphey. They had two sons, Jesse and Micah. The marriage lasted 25 years, ending in 1994 or 1995.
In 1996, Diamond began a lengthy, live-in relationship with Australian Rae Farley after the two met in Brisbane, Australia. The songs on Home Before Dark were written and composed during her struggle with chronic back pain.
On September 7, 2011, in a message on Twitter, the 70-year-old Diamond announced his engagement to the 41-year-old Katie McNeil. Diamond said that his 2014 album Melody Road was fueled by their relationship, explaining:
There's no better inspiration or motivation for work than being in love. It's what you dream of as a creative person. I was able to complete this album—start it, write it and complete it—under the spell of love, and I think it shows somehow.
The couple married in front of family and close friends in Los Angeles in 2012. In addition to serving as Diamond's manager, McNeil produced the documentary Neil Diamond: Hot August Nights NYC.
Discography
Filmography
Diamond had a television appearance and roles in some movies, notably:
Mannix, "The Many Deaths of Saint Christopher" (1967) as himself
The Jazz Singer, starring role as Jess Robin
Saving Silverman appearing as himself
Notes
References
External links
Neil Diamond's Band's Official Site
1941 births
Living people
20th-century American guitarists
20th-century American pianists
20th-century American singers
21st-century American pianists
21st-century American singers
Abraham Lincoln High School (Brooklyn) alumni
American acoustic guitarists
American baritones
American folk guitarists
American male guitarists
American male pianists
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American rock songwriters
American soft rock musicians
American people of Polish-Jewish descent
American people of Russian-Jewish descent
Jewish American musicians
Jewish American songwriters
Jewish singers
Jewish folk singers
Jewish rock musicians
Erasmus Hall High School alumni
Capitol Records artists
Columbia Records artists
MCA Records artists
NYU Violets fencers
Uni Records artists
Golden Globe Award-winning musicians
Grammy Lifetime Achievement Award winners
Kennedy Center honorees
Rhythm guitarists
Musicians from Brooklyn
Guitarists from New York City
Singers from New York City
People with Parkinson's disease
Singer-songwriters from New York (state) | false | [
"What Christmas Means is the fourth studio album by American singer Kem. It was released by Motown Records on October 16, 2012 in the United States. His first Christmas album, the album features traditional Christmas songs, along with original material. Guests on the album features Ledisi and the Detroit Gospel Choir. What Christmas Means peaked at number 64 on the US Billboard 200 and number six on the US Top Holiday Albums. A deluxe edition with four additional bonus tracks was issued on October 29, 2013.\n\nCritical reception\n\nAndy Kellman, writing for Allmusic, wrote that \"Kem followers probably know to approach What Christmas Means without the expectation of hearing a thunderous version of \"Little Drummer Boy\" or collaborations with the Trans-Siberian Orchestra. Sure enough, the singer and songwriter's first Christmas album is filled with the same relaxed, romantic, spiritual, and gently uplifting moods of his studio albums. He didn't make this on autopilot, either [...] Kem fans who celebrate Christmas will likely value this disc as a seasonal staple for years to come.\"\n\nTrack listing\n\nSample credits\n\"Be Mine for Christmas\" contains elements of \"Me and Mrs. Jones\" (1972) as performed by Billy Paul.\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\nKem (singer) albums\n2012 Christmas albums\nChristmas albums by American artists\nMotown albums\nContemporary R&B Christmas albums\nGospel Christmas albums",
"\"What Christmas Means to Me\" is the name of several different Christmas songs. The most-covered version was written by Allen Story, Anna Gordy Gaye, and George Gordy. It has been recorded by many artists, including:\n\n Stevie Wonder (1967) on Someday at Christmas \n Paul Young (1992) on A Very Special Christmas 2 \n Hanson (1997) on Snowed In \n Mary-Kate and Ashley Olsen with Sean Holt (1999) on Cool Yule: A Christmas Party With Friends \n En Vogue (2002) on The Gift of Christmas \n Holiday Express (2002) on Live \n Jessica Simpson (2004) on ReJoyce: The Christmas Album \n Natalie Grant (2005) on Believe \n Charm City Sound (2007) on Christmas Lights \n Darlene Love (2007) on It's Christmas, Of Course \n Mandisa (2007) on Christmas Joy EP - also appeared on It's Christmas in 2008 \n Jason Yeager (2008) on My Christmas Wish \n Overboard (2008) on Tidings \n Sensational Soul Cruisers (2008) on Save Your Soul EP\n Rahsaan Patterson (2008) on The Ultimate Gift \n Michael McDonald (2009) on This Christmas - listed as \"That's What Christmas Means to Me\"\n Karel King (2010) on Lights, Love, and Laughter \n Trijntje Oosterhuis (2010) on This Is The Season \n University of Wisconsin Madhatters (2010) on Cheer On Tap\n Nick Lachey featuring The Sing-Off Contestants (2010) on The Sing Off: Season 2, Episode 5, The Finale\n Coastline (2011) on An Undeniably Merry Coastline Christmas \n J Grace (2011) on Christmas Eve \n Cee Lo Green (2012) on Cee Lo's Magic Moment \n The Empty Pockets (2012) on A Holiday Staycation\n Rhonda Thomas (2012) on Little Drummer Girl \n Klarc Whitson\n Sugarlick\n Sugar Beats on A Sugar Beats Christmas - Cool Christmas Songs for Kids \n Ballroom Orchestra & Singers\n Jennette McCurdy in the 2012 Macy's Thanksgiving Day Parade.\n Two Angels (2013) on \"How Angels celebrate Christmas\"\n Train (2015) on Christmas in Tahoe\n The Mrs (2015) single release\n Straight No Chaser (2016) on I'll Have Another... Christmas Album\n Pentatonix (2018) on Christmas Is Here!\n John Legend (2018) on A Legendary Christmas\n Gaia (2021) single release\n\nSimilar titles\n \"What Christmas Means to Me\" - written by Chiquita Mullins, Claude Hill, Moses Dillard, and Sharon Michalsky\n Al Green (1983) on The Christmas Album - also appeared on White Christmas in 1986\n \"What Christmas Means to Me\" - written by Steve Romanoff \n Schooner Fare (1987) on Home for the Holidays\n \"What Christmas Means to Me\" - written by Joey Miskulin \n Frankie Yankovic (1994) on Christmas Memories\n \"What Christmas Means to Me\" - written by Bob Stewart \n Karen Newman (1994) on What Christmas Means to Me\n \"What Christmas Means to Me\" - written by Amayz\n Amayz (2007) on Everyday Like Christmas\n \"That's What Christmas Means to Me\" - written by Nick Acquaviva and Ted Varnick\n Eddie Fisher (1952) on Christmas with Eddie Fisher\n \"That's What Christmas Means to Me\" - written by Wendell B\n Wendell B (2007) on Save a Little Room for Me\n \"That's What Christmas Means to Me\" - written by Harry Revel\n Featured in the film It Happened on Fifth Avenue (1947)\n \"That's What Christmas Means to Me\" - written by Jerome Schoolar \n Biscuit Brothers (2007) on Have a Merry Musical Christmas\n\nReferences\n\n1967 songs\nAmerican Christmas songs\nJessica Simpson songs\nStevie Wonder songs\nSongs written by Anna Gordy Gaye\nSongs written by George Gordy"
]
|
[
"Sam Thompson",
"1896-98 seasons"
]
| C_d7b556395dbc4ddb9287757223433c41_1 | What happened with the 1896-98 seasons? | 1 | What happened with Sam Thompson in the 1896-98 seasons? | Sam Thompson | At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record. In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record. Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire. CANNOTANSWER | At age 36, Thompson played his last full season of professional baseball in 1896. | Samuel Luther "Big Sam" Thompson (March 5, 1860 – November 7, 1922) was an American professional baseball player from 1884 to 1898 and with a brief comeback in 1906. At , the Indiana native was one of the larger players of his day and was known for his prominent handlebar mustache. He played as a right fielder in Major League Baseball for the Detroit Wolverines (1885–1888), Philadelphia Phillies (1889–1898) and Detroit Tigers (1906). He was inducted into the Baseball Hall of Fame in 1974.
Thompson had a .331 career batting average and was one of the most prolific run producers in baseball history. His career run batted in (RBI) to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history. In 1895, Thompson averaged 1.44 RBIs per game, and his 166 RBIs in 1887 (in only 127 games) remained the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies. Manager Bill Watkins in 1922 called Thompson "the greatest natural hitter of all time."
Defensively, Thompson was known to have one of the strongest arms of any outfielder in the early decades of the game. He still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson also had good speed on the base paths and, in 1889, he became the first major league player to reach 20 home runs and 20 stolen bases in the same season.
Early years
Thompson was born in Danville, Indiana, in 1860. He was the fifth of eleven children born to Jesse and Rebecca Thompson. He was educated at the Danville Graded School. After reaching adulthood, Thompson became employed as a carpenter in Danville. He and five of his brothers also played on a local baseball team known as the Danville Browns.
Baseball career
Evansville and Indianapolis
In July 1884, Thompson began his professional baseball career at age 24, playing for the Evansville, Indiana, team in the Northwestern League. A scout for Evansville travelled to Danville and was referred to "Big Sam", who was working on a roof in Stinesville. Thompson was initially reluctant to give up his carpentry career and travel 150 miles to Evansville, but he ultimately agreed to give it a try. Unfortunately, the league folded in early August 1884, after only five games. In five games at Evansville, Thompson compiled a .391 batting average.
Thompson signed with the Indianapolis Hoosiers of the newly formed Western League in 1885. He compiled a .321 average in 30 games with the Hoosiers. He was approached by a Union Association team and offered more money, but in a show of "steadfastness to his word", Thompson refused the offer and remained with Indianapolis at a pay of $100 per month. The Hoosiers were the dominant team in the Western League, compiling an .880 winning percentage.
Detroit Wolverines
Signing
In mid June 1885, the Western League disbanded, and a mad rush developed to sign the players on the Indianapolis roster, a line-up that included Thompson, Deacon McGuire, Sam Crane, Chub Collins, Jim Donnelly, Mox McQuery, Gene Moriarty, and Dan Casey.
Thompson later told the colorful story of his acquisition by Detroit. Detroit sent two representatives (Marsh and Maloney) to Indianapolis, principally to sign the Hoosiers' battery of Larry McKeon and Jim Keenan. The Wolverines were outbid by the Cincinnati Reds for McKeon and Keenan but wound up with the Hoosiers' manager (Bill Watkins) and the rest of the team's starting lineup. The only catch was that a 10-day waiting period would allow other teams to outbid Detroit. Marsh and Maloney promptly sent the players to Detroit and quartered them in a hotel there. The next morning, the players were told that the team had arranged a fishing trip for them. The players boarded the steamship Annette and enjoyed the first day and night of successful fishing. After three days, the players became suspicious, but the ship captain laughed when asked when they would return to Detroit. As the players became mutinous on the sixth day, the captain admitted he had been ordered to keep them "out at sea" for 10 days. In another account, Thompson described his 10 days aboard the Annette as follows: "We were prisoners, but well cared-for prisoners. Anything in the line of creature comforts you could find packed away on ice. We lived on the best in the market, and spent the rest of the time in fishing and playing poker, chips having very thoughtfully been provided. On the night of the tenth day, at midnight, we were all taken ashore where Watkins met us and signed us to our contracts."
The players were only later presented with their accumulated mail which included scores of offers from other clubs. A writer in the Detroit Free Press later noted: "Detroit magnates showed some inside baseball brains and great finessing in sending the players away from all tempters for that period when they belonged to no club."
Regardless of the trickery by Detroit, Thompson considered Detroit to be a mecca. He recalled his first time in 1885 viewing Woodward Avenue with Indianapolis teammate Mox McQuery. They gazed with "open-mouth amazement" at the "wondrous pavements", having never seen a street as "clean and smooth as a table."
1885 and 1886 seasons
Thompson joined the Wolverines lineup in early July. In his first plate appearance, he had a hit off New York Giants' Hall of Fame pitcher Tim Keefe. The Wolverines were in last place when Thompson joined the club, but won 12 of their first 13 games after Thompson took over in right field. Thompson compiled a .303 batting average in 63 games. Despite playing only the second half of his rookie season, Thompson ranked among the National League leaders with seven home runs (third most in the league) and nine triples (10th most in the league). Displaying a strong arm that would be one of the main features of his defensive game, Thompson also ranked fifth in the league with 24 outfield assists in only 63 games.
In 1886, team owner Frederick K. Stearns made a big splash when he purchased the Buffalo infield that had become known as the "Big Four", consisting of Dan Brouthers, Hardy Richardson, Jack Rowe, and Deacon White. In addition, Detroit pitcher Lady Baldwin won 42 games in 1886, a major league record for a left-handed pitcher. The 1886 season was Thompson's first full season in the majors. Thompson made a major contribution to the 1886 club as well, compiling a .310 batting average with 101 runs scored, 13 triples, and eight home runs in 122 games. His 89 runs batted in (RBIs) ranked third in the National League. His defensive statistics continued to impress as well. He led the league with 11 double plays from the outfield, ranked second with a .945 fielding percentage, and was fourth in the league with 194 outfield putouts. The 1886 Wolverines compiled an impressive 87–36 record (.707 winning percentage), but lost the National League pennant, finishing 2½ games behind the Chicago White Stockings.
1887 season
Thompson had his breakout season in 1887 when he won the National League batting crown with .372 batting average, and he set a major league record with 166 RBIs. Thompson also led the league in hits (203), triples (23), slugging percentage (.565), total bases (308), and at bats (545). On May 7, 1887, Thompson became the first player in major league history to hit two triples with the bases loaded in the same game. The 1887 Detroit Wolverines featured four future Hall of Fame inductees (Thompson, Dan Brouthers, Deacon White, and Ned Hanlon) and won the National League pennant with a 79-45 record. The Wolverines then went on to defeat the St. Louis Browns of the American Association in a 15-game World Series challenge. Thompson played in all 15 games of the World Series and led all hitters with a .362 average, two home runs, seven RBIs and a .621 slugging percentage.
1888 season
During the 1888 season, Thompson was sidelined with a sore arm during most of the season and appeared in only 56 games. His batting average declined by 90 points to .282, and the fortunes of the entire 1888 Detroit team followed suit. The team finished in fifth place with a 68-63 record. With high salaries owed to the team's star players, and gate receipts declining markedly, the team folded in October 1888 season with the players being sold to other teams.
Philadelphia Phillies
1889–1892
On October 16, 1888, Thompson was purchased from the Wolverines by the Philadelphia Quakers (known as the Philadelphia Phillies beginning in 1890), for $5,000 cash (equal to $ today).
In his first season with Philadelphia, Thompson hit .296 and led the National League with a career-high 20 home runs. He also became the first major league player to reach 20 home runs and 20 stolen bases (Thompson stole 24 bases) in the same season. Thompson improved his batting average to .313 in 1890 and led the league in both hits (172) and doubles (41). Thompson's batting average dipped slightly below .300 in 1891 (.294) but bounced back in 1892 to .305. In each of his first four seasons with the Phillies, Thompson finished among the league leaders in total bases and RBIs. He ranked third in total bases in 1889 (262), 1890 (243), and 1893 (263), second in RBIs in 1892 (104), and third in RBIs in 1890 (102). He also tallied a career-high 32 outfield assists to lead the National League in 1891. (It has been suggested that Thompson's assist and home run totals in Philadelphia were aided by the short 300-foot right field fence at the Huntingdon Street Grounds.) The Phillies were a good, but not great team, during Thompson's first four years in Philadelphia, finishing in fourth place in 1889, 1891 and 1892, and in third place in 1890.
1893–1895
From 1893 to 1895, Thompson hit his stride with the Phillies. During those three years, he hit .390 and averaged 207 hits, 125 runs, 146 RBIs, 21 triples, and 24 stolen bases. And he compiled those numbers while striking out an average of only 14 times per season. Despite Thompson's contributions, the Phillies were unable to compete for the National League pennant, finishing in fourth place in 1893 and 1894 and in third place in 1895.
Thompson's 1893 totals included a league-leading 222 hits and 37 doubles. After the 1893 season, Thompson vowed not to return to Philadelphia in protest over the owners' penny-pinching ways and the team's inability to compete for a pennant. In October 1893, Thompson announced: "I shall not play again in Philadelphia, and I told Harry Wright it would be a waste of time for him to write to me about signing. The cheese-paring methods of the management ... have been the causes leading to my resolution. ... The management [has] made a barrel of money, but they grind the players into the dirt." Thompson finally agreed in March 1894 to return to the Phillies, but only after management agreed to improve travel accommodations.
In 1894, Thompson was part of the only all-.400-hitting outfield of all-time. All four Philadelphia outfielders ended the season with a batting average better than .400 (Tuck Turner at .416, Thompson and Ed Delahanty at .407, and Billy Hamilton at .404). Thompson missed a month from the 1894 season with an injury to the little finger on his left hand. Doctors determined that the smaller bones in the finger were dead, and portions of the finger were surgically removed in mid-May 1894. Despite the injury and partial amputation, and being limited to only 102 games, Thompson compiled a .407 batting average with a career-high 28 triples and a league-leading 147 RBIs. His 1894 ratio of 1.44 RBIs per game remains the all-time major league record. Also, his 28 triples was the second highest total in major league history up to that time and remains the fifth highest of all time. Thompson also led the National League with a career-high .696 slugging percentage, and he hit for the cycle on August 17, 1894.
In 1895, Thompson compiled a .392 batting average with 211 hits in 119 games and led the National League in slugging percentage (.654), total bases (352), extra base hits (84), home runs (18), and RBIs (165). His average of 1.39 RBIs per game in 1895 remains second in major league history—trailing Thompson's 1.44 ratio in 1894. Thompson also continued to perform well defensively with 31 outfield assists, second most in the league. From June 11 to 21, Thompson had 6 consecutive games with at least 3 or more hits. Since then, only Jimmy Johnston (June 24–30, 1923) and George Brett (May 8–13, 1976) had 6 straight games with at least 3 or more hits.
1896–1898
At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record.
In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record.
Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire.
Detroit Tigers
Late in the 1906 baseball season, Thompson briefly returned to the major leagues as a player for the Detroit Tigers. With starting outfielders Ty Cobb and Davy Jones out of the Tigers lineup with injuries, Thompson volunteered to fill in. At age 46, Thompson had remained active, playing baseball for the Detroit Athletic Club and other local teams. Accordingly, in late August and early September 1906, he took his old place in right field for Detroit. Thompson's return to baseball led to an increase in attendance, as "the stands and bleachers were full of special Thompson delegations." After getting a hit and two RBIs in his first game, he totaled seven hits, four runs, three RBIs and a triple in eight games with the Tigers. At age 46, he became, and remains, the oldest player to hit a triple in the major leagues. Detroit sports writer Paul H. Bruske noted that Thompson was still able to throw the ball from deep right field to the plate "on a line" and that he still had "a lot of speed on the bases."
Career statistics and legacy
In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974.
Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies.
Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."
In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford.
Family and later years
Thompson was married in 1888 to Ida Morasha of Detroit. They had no children and made their home in Detroit until Thompson's death. After retiring from baseball, Thompson invested in real estate and was financially comfortable in his later years. He was appointed a U.S. Deputy Marshall during World War I and also worked as the crier in the courtroom of U.S. District Court Judge Arthur J. Tuttle. He was "well known" and a "well liked" figure at the federal building in Detroit.
Thompson died in 1922 at age 62. He had a heart attack while serving as an election inspector on November 7 and was stricken again later in the morning after being taken to his home located at 6468 Trumbull Avenue in Detroit. Upon learning of Thompson's death, his former Detroit manager Bill Watkins recalled Thompson as "not only a great baseball player, but as one of the finest gentlemen I ever knew." At Thompson's funeral, "Michigan's foremost citizens – state and city officials, judges, bankers, doctors, millionaires, laborers – paid homage ... to their beloved friend", and the neighborhood in which Thompson lived "was packed with expensive automobiles and their liveried chauffeurs" as workmen and wealthy men "discussed their favorite player with an unusual spirit of camaraderie." Thompson was interred at the historic Elmwood Cemetery in Detroit. He was posthumously inducted into the Baseball Hall of Fame in 1974.
See also
1887 Detroit Wolverines season
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career triples leaders
List of Major League Baseball batting champions
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball annual doubles leaders
List of Major League Baseball annual triples leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game hits leaders
References
External links
1860 births
1922 deaths
People from Danville, Indiana
Baseball players from Indiana
Burials at Elmwood Cemetery (Detroit, Michigan)
National Baseball Hall of Fame inductees
Major League Baseball right fielders
19th-century baseball players
Detroit Wolverines players
Philadelphia Quakers players
Philadelphia Phillies players
Detroit Tigers players
National League batting champions
National League home run champions
National League RBI champions
Evansville (minor league baseball) players
Indianapolis Hoosiers (minor league) players | true | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"¿Qué hubiera pasado si...? (in English, What would have happened if...?) is a counterfactual history Argentine book written by Rosendo Fraga. The book speculates on how would the History of Argentina have developed if certain key events did not take place or had happened in a different way.\n\nDescription\nAmong other things, the book speculates what would have happened if the viceroyalty of the Río de la Plata wasn't created, if the British invasions of the Río de la Plata did not fail, if José de San Martín had obeyed the Supreme Directors and returned with the Army of the Andes to fight Artigas instead of taking the independentist war to Peru, if the Conquest of the Desert did not take place, if the different coup d'états that took place in Argentina did not happen or were defeated, and if Argentina had obtained the sovereignty of the Malvinas. Each chapter starts with a basic premise but speculates as well on related possibilities that could have influenced changes: for example, the one on San Martin questions as well what would have happened if the government of Chile fell, if a Spanish task force arrived to take Buenos Aires, and what stance could have the caudillos taken in those hypothetic scenarios.\n\nReferences\n\nExternal links\n Interview with Rosendo Fraga about the book \n\nArgentine books\nAlternate history anthologies"
]
|
[
"Sam Thompson",
"1896-98 seasons",
"What happened with the 1896-98 seasons?",
"At age 36, Thompson played his last full season of professional baseball in 1896."
]
| C_d7b556395dbc4ddb9287757223433c41_1 | What was the reason he played his last season? | 2 | What was the reason Sam Thompson played his last season? | Sam Thompson | At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record. In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record. Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire. CANNOTANSWER | His average dipped to .298, but he still managed to collect 100 RBIs. | Samuel Luther "Big Sam" Thompson (March 5, 1860 – November 7, 1922) was an American professional baseball player from 1884 to 1898 and with a brief comeback in 1906. At , the Indiana native was one of the larger players of his day and was known for his prominent handlebar mustache. He played as a right fielder in Major League Baseball for the Detroit Wolverines (1885–1888), Philadelphia Phillies (1889–1898) and Detroit Tigers (1906). He was inducted into the Baseball Hall of Fame in 1974.
Thompson had a .331 career batting average and was one of the most prolific run producers in baseball history. His career run batted in (RBI) to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history. In 1895, Thompson averaged 1.44 RBIs per game, and his 166 RBIs in 1887 (in only 127 games) remained the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies. Manager Bill Watkins in 1922 called Thompson "the greatest natural hitter of all time."
Defensively, Thompson was known to have one of the strongest arms of any outfielder in the early decades of the game. He still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson also had good speed on the base paths and, in 1889, he became the first major league player to reach 20 home runs and 20 stolen bases in the same season.
Early years
Thompson was born in Danville, Indiana, in 1860. He was the fifth of eleven children born to Jesse and Rebecca Thompson. He was educated at the Danville Graded School. After reaching adulthood, Thompson became employed as a carpenter in Danville. He and five of his brothers also played on a local baseball team known as the Danville Browns.
Baseball career
Evansville and Indianapolis
In July 1884, Thompson began his professional baseball career at age 24, playing for the Evansville, Indiana, team in the Northwestern League. A scout for Evansville travelled to Danville and was referred to "Big Sam", who was working on a roof in Stinesville. Thompson was initially reluctant to give up his carpentry career and travel 150 miles to Evansville, but he ultimately agreed to give it a try. Unfortunately, the league folded in early August 1884, after only five games. In five games at Evansville, Thompson compiled a .391 batting average.
Thompson signed with the Indianapolis Hoosiers of the newly formed Western League in 1885. He compiled a .321 average in 30 games with the Hoosiers. He was approached by a Union Association team and offered more money, but in a show of "steadfastness to his word", Thompson refused the offer and remained with Indianapolis at a pay of $100 per month. The Hoosiers were the dominant team in the Western League, compiling an .880 winning percentage.
Detroit Wolverines
Signing
In mid June 1885, the Western League disbanded, and a mad rush developed to sign the players on the Indianapolis roster, a line-up that included Thompson, Deacon McGuire, Sam Crane, Chub Collins, Jim Donnelly, Mox McQuery, Gene Moriarty, and Dan Casey.
Thompson later told the colorful story of his acquisition by Detroit. Detroit sent two representatives (Marsh and Maloney) to Indianapolis, principally to sign the Hoosiers' battery of Larry McKeon and Jim Keenan. The Wolverines were outbid by the Cincinnati Reds for McKeon and Keenan but wound up with the Hoosiers' manager (Bill Watkins) and the rest of the team's starting lineup. The only catch was that a 10-day waiting period would allow other teams to outbid Detroit. Marsh and Maloney promptly sent the players to Detroit and quartered them in a hotel there. The next morning, the players were told that the team had arranged a fishing trip for them. The players boarded the steamship Annette and enjoyed the first day and night of successful fishing. After three days, the players became suspicious, but the ship captain laughed when asked when they would return to Detroit. As the players became mutinous on the sixth day, the captain admitted he had been ordered to keep them "out at sea" for 10 days. In another account, Thompson described his 10 days aboard the Annette as follows: "We were prisoners, but well cared-for prisoners. Anything in the line of creature comforts you could find packed away on ice. We lived on the best in the market, and spent the rest of the time in fishing and playing poker, chips having very thoughtfully been provided. On the night of the tenth day, at midnight, we were all taken ashore where Watkins met us and signed us to our contracts."
The players were only later presented with their accumulated mail which included scores of offers from other clubs. A writer in the Detroit Free Press later noted: "Detroit magnates showed some inside baseball brains and great finessing in sending the players away from all tempters for that period when they belonged to no club."
Regardless of the trickery by Detroit, Thompson considered Detroit to be a mecca. He recalled his first time in 1885 viewing Woodward Avenue with Indianapolis teammate Mox McQuery. They gazed with "open-mouth amazement" at the "wondrous pavements", having never seen a street as "clean and smooth as a table."
1885 and 1886 seasons
Thompson joined the Wolverines lineup in early July. In his first plate appearance, he had a hit off New York Giants' Hall of Fame pitcher Tim Keefe. The Wolverines were in last place when Thompson joined the club, but won 12 of their first 13 games after Thompson took over in right field. Thompson compiled a .303 batting average in 63 games. Despite playing only the second half of his rookie season, Thompson ranked among the National League leaders with seven home runs (third most in the league) and nine triples (10th most in the league). Displaying a strong arm that would be one of the main features of his defensive game, Thompson also ranked fifth in the league with 24 outfield assists in only 63 games.
In 1886, team owner Frederick K. Stearns made a big splash when he purchased the Buffalo infield that had become known as the "Big Four", consisting of Dan Brouthers, Hardy Richardson, Jack Rowe, and Deacon White. In addition, Detroit pitcher Lady Baldwin won 42 games in 1886, a major league record for a left-handed pitcher. The 1886 season was Thompson's first full season in the majors. Thompson made a major contribution to the 1886 club as well, compiling a .310 batting average with 101 runs scored, 13 triples, and eight home runs in 122 games. His 89 runs batted in (RBIs) ranked third in the National League. His defensive statistics continued to impress as well. He led the league with 11 double plays from the outfield, ranked second with a .945 fielding percentage, and was fourth in the league with 194 outfield putouts. The 1886 Wolverines compiled an impressive 87–36 record (.707 winning percentage), but lost the National League pennant, finishing 2½ games behind the Chicago White Stockings.
1887 season
Thompson had his breakout season in 1887 when he won the National League batting crown with .372 batting average, and he set a major league record with 166 RBIs. Thompson also led the league in hits (203), triples (23), slugging percentage (.565), total bases (308), and at bats (545). On May 7, 1887, Thompson became the first player in major league history to hit two triples with the bases loaded in the same game. The 1887 Detroit Wolverines featured four future Hall of Fame inductees (Thompson, Dan Brouthers, Deacon White, and Ned Hanlon) and won the National League pennant with a 79-45 record. The Wolverines then went on to defeat the St. Louis Browns of the American Association in a 15-game World Series challenge. Thompson played in all 15 games of the World Series and led all hitters with a .362 average, two home runs, seven RBIs and a .621 slugging percentage.
1888 season
During the 1888 season, Thompson was sidelined with a sore arm during most of the season and appeared in only 56 games. His batting average declined by 90 points to .282, and the fortunes of the entire 1888 Detroit team followed suit. The team finished in fifth place with a 68-63 record. With high salaries owed to the team's star players, and gate receipts declining markedly, the team folded in October 1888 season with the players being sold to other teams.
Philadelphia Phillies
1889–1892
On October 16, 1888, Thompson was purchased from the Wolverines by the Philadelphia Quakers (known as the Philadelphia Phillies beginning in 1890), for $5,000 cash (equal to $ today).
In his first season with Philadelphia, Thompson hit .296 and led the National League with a career-high 20 home runs. He also became the first major league player to reach 20 home runs and 20 stolen bases (Thompson stole 24 bases) in the same season. Thompson improved his batting average to .313 in 1890 and led the league in both hits (172) and doubles (41). Thompson's batting average dipped slightly below .300 in 1891 (.294) but bounced back in 1892 to .305. In each of his first four seasons with the Phillies, Thompson finished among the league leaders in total bases and RBIs. He ranked third in total bases in 1889 (262), 1890 (243), and 1893 (263), second in RBIs in 1892 (104), and third in RBIs in 1890 (102). He also tallied a career-high 32 outfield assists to lead the National League in 1891. (It has been suggested that Thompson's assist and home run totals in Philadelphia were aided by the short 300-foot right field fence at the Huntingdon Street Grounds.) The Phillies were a good, but not great team, during Thompson's first four years in Philadelphia, finishing in fourth place in 1889, 1891 and 1892, and in third place in 1890.
1893–1895
From 1893 to 1895, Thompson hit his stride with the Phillies. During those three years, he hit .390 and averaged 207 hits, 125 runs, 146 RBIs, 21 triples, and 24 stolen bases. And he compiled those numbers while striking out an average of only 14 times per season. Despite Thompson's contributions, the Phillies were unable to compete for the National League pennant, finishing in fourth place in 1893 and 1894 and in third place in 1895.
Thompson's 1893 totals included a league-leading 222 hits and 37 doubles. After the 1893 season, Thompson vowed not to return to Philadelphia in protest over the owners' penny-pinching ways and the team's inability to compete for a pennant. In October 1893, Thompson announced: "I shall not play again in Philadelphia, and I told Harry Wright it would be a waste of time for him to write to me about signing. The cheese-paring methods of the management ... have been the causes leading to my resolution. ... The management [has] made a barrel of money, but they grind the players into the dirt." Thompson finally agreed in March 1894 to return to the Phillies, but only after management agreed to improve travel accommodations.
In 1894, Thompson was part of the only all-.400-hitting outfield of all-time. All four Philadelphia outfielders ended the season with a batting average better than .400 (Tuck Turner at .416, Thompson and Ed Delahanty at .407, and Billy Hamilton at .404). Thompson missed a month from the 1894 season with an injury to the little finger on his left hand. Doctors determined that the smaller bones in the finger were dead, and portions of the finger were surgically removed in mid-May 1894. Despite the injury and partial amputation, and being limited to only 102 games, Thompson compiled a .407 batting average with a career-high 28 triples and a league-leading 147 RBIs. His 1894 ratio of 1.44 RBIs per game remains the all-time major league record. Also, his 28 triples was the second highest total in major league history up to that time and remains the fifth highest of all time. Thompson also led the National League with a career-high .696 slugging percentage, and he hit for the cycle on August 17, 1894.
In 1895, Thompson compiled a .392 batting average with 211 hits in 119 games and led the National League in slugging percentage (.654), total bases (352), extra base hits (84), home runs (18), and RBIs (165). His average of 1.39 RBIs per game in 1895 remains second in major league history—trailing Thompson's 1.44 ratio in 1894. Thompson also continued to perform well defensively with 31 outfield assists, second most in the league. From June 11 to 21, Thompson had 6 consecutive games with at least 3 or more hits. Since then, only Jimmy Johnston (June 24–30, 1923) and George Brett (May 8–13, 1976) had 6 straight games with at least 3 or more hits.
1896–1898
At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record.
In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record.
Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire.
Detroit Tigers
Late in the 1906 baseball season, Thompson briefly returned to the major leagues as a player for the Detroit Tigers. With starting outfielders Ty Cobb and Davy Jones out of the Tigers lineup with injuries, Thompson volunteered to fill in. At age 46, Thompson had remained active, playing baseball for the Detroit Athletic Club and other local teams. Accordingly, in late August and early September 1906, he took his old place in right field for Detroit. Thompson's return to baseball led to an increase in attendance, as "the stands and bleachers were full of special Thompson delegations." After getting a hit and two RBIs in his first game, he totaled seven hits, four runs, three RBIs and a triple in eight games with the Tigers. At age 46, he became, and remains, the oldest player to hit a triple in the major leagues. Detroit sports writer Paul H. Bruske noted that Thompson was still able to throw the ball from deep right field to the plate "on a line" and that he still had "a lot of speed on the bases."
Career statistics and legacy
In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974.
Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies.
Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."
In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford.
Family and later years
Thompson was married in 1888 to Ida Morasha of Detroit. They had no children and made their home in Detroit until Thompson's death. After retiring from baseball, Thompson invested in real estate and was financially comfortable in his later years. He was appointed a U.S. Deputy Marshall during World War I and also worked as the crier in the courtroom of U.S. District Court Judge Arthur J. Tuttle. He was "well known" and a "well liked" figure at the federal building in Detroit.
Thompson died in 1922 at age 62. He had a heart attack while serving as an election inspector on November 7 and was stricken again later in the morning after being taken to his home located at 6468 Trumbull Avenue in Detroit. Upon learning of Thompson's death, his former Detroit manager Bill Watkins recalled Thompson as "not only a great baseball player, but as one of the finest gentlemen I ever knew." At Thompson's funeral, "Michigan's foremost citizens – state and city officials, judges, bankers, doctors, millionaires, laborers – paid homage ... to their beloved friend", and the neighborhood in which Thompson lived "was packed with expensive automobiles and their liveried chauffeurs" as workmen and wealthy men "discussed their favorite player with an unusual spirit of camaraderie." Thompson was interred at the historic Elmwood Cemetery in Detroit. He was posthumously inducted into the Baseball Hall of Fame in 1974.
See also
1887 Detroit Wolverines season
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career triples leaders
List of Major League Baseball batting champions
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball annual doubles leaders
List of Major League Baseball annual triples leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game hits leaders
References
External links
1860 births
1922 deaths
People from Danville, Indiana
Baseball players from Indiana
Burials at Elmwood Cemetery (Detroit, Michigan)
National Baseball Hall of Fame inductees
Major League Baseball right fielders
19th-century baseball players
Detroit Wolverines players
Philadelphia Quakers players
Philadelphia Phillies players
Detroit Tigers players
National League batting champions
National League home run champions
National League RBI champions
Evansville (minor league baseball) players
Indianapolis Hoosiers (minor league) players | true | [
"Dr. Thomas Francis Reason (4 July 1890 – 15 February 1935) was a Welsh cricketer. Reason was a right-handed batsman who bowled right-arm medium pace. He was born in Cadoxton, Glamorgan.\n\nReason made his debut for Glamorgan in the 1914 Minor Counties Championship against Monmouthshire. He played one further match for the county on 1914, before the season was cut short due to the start of the First World War. Following the completion of his medical training at Guy's Hospital and the resumption of county cricket following the war, Reason once again played for Glamorgan. In the 1920 Minor Counties Championship he represented the county in 6 matches, with his final Minor Counties appearance for the county coming against Devon.\n\nReason made his only first-class appearance for the county in 1923 against Somerset.\n\nReason died at Skewen, Glamorgan on 15 February 1935.\n\nReferences\n\nExternal links\nTom Reason at Cricinfo\nTom Reason at CricketArchive\n\n1890 births\n1935 deaths\n20th-century Welsh medical doctors\nCricketers from Neath Port Talbot\nGlamorgan cricketers\nWelsh cricketers",
"Ryan Brewer is a former college football player.\n\nHigh school career\nBrewer was Ohio's Mr. Football in 1998 playing for Troy High School. He left as the state's all-time leading rusher in a single season.\n\nCollege career\nBrewer played for the University of South Carolina, his only major football scholarship offer. One of his most notable games was the 2001 Outback Bowl where he was named game Most Outstanding Player and tied a game record with three touchdowns. In that game, he also had over 100 yards rushing and 200 all-purpose yards. The game was also significant in that it was the last game for Ohio State coach John Cooper as he was fired by Ohio State the next day. Part of the reason for his firing was that his team was defeated by an opponent with a home state star player that he did not recruit. During the next season, his senior season, he was injured.\n\nReferences\n\nLiving people\nSouth Carolina Gamecocks football players\nAmerican football running backs\nPlayers of American football from Ohio\nPeople from Troy, Ohio\nYear of birth missing (living people)"
]
|
[
"Sam Thompson",
"1896-98 seasons",
"What happened with the 1896-98 seasons?",
"At age 36, Thompson played his last full season of professional baseball in 1896.",
"What was the reason he played his last season?",
"His average dipped to .298, but he still managed to collect 100 RBIs."
]
| C_d7b556395dbc4ddb9287757223433c41_1 | What happened after his last season? | 3 | What happened after Sam Thompson's last season? | Sam Thompson | At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record. In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record. Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire. CANNOTANSWER | In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. | Samuel Luther "Big Sam" Thompson (March 5, 1860 – November 7, 1922) was an American professional baseball player from 1884 to 1898 and with a brief comeback in 1906. At , the Indiana native was one of the larger players of his day and was known for his prominent handlebar mustache. He played as a right fielder in Major League Baseball for the Detroit Wolverines (1885–1888), Philadelphia Phillies (1889–1898) and Detroit Tigers (1906). He was inducted into the Baseball Hall of Fame in 1974.
Thompson had a .331 career batting average and was one of the most prolific run producers in baseball history. His career run batted in (RBI) to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history. In 1895, Thompson averaged 1.44 RBIs per game, and his 166 RBIs in 1887 (in only 127 games) remained the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies. Manager Bill Watkins in 1922 called Thompson "the greatest natural hitter of all time."
Defensively, Thompson was known to have one of the strongest arms of any outfielder in the early decades of the game. He still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson also had good speed on the base paths and, in 1889, he became the first major league player to reach 20 home runs and 20 stolen bases in the same season.
Early years
Thompson was born in Danville, Indiana, in 1860. He was the fifth of eleven children born to Jesse and Rebecca Thompson. He was educated at the Danville Graded School. After reaching adulthood, Thompson became employed as a carpenter in Danville. He and five of his brothers also played on a local baseball team known as the Danville Browns.
Baseball career
Evansville and Indianapolis
In July 1884, Thompson began his professional baseball career at age 24, playing for the Evansville, Indiana, team in the Northwestern League. A scout for Evansville travelled to Danville and was referred to "Big Sam", who was working on a roof in Stinesville. Thompson was initially reluctant to give up his carpentry career and travel 150 miles to Evansville, but he ultimately agreed to give it a try. Unfortunately, the league folded in early August 1884, after only five games. In five games at Evansville, Thompson compiled a .391 batting average.
Thompson signed with the Indianapolis Hoosiers of the newly formed Western League in 1885. He compiled a .321 average in 30 games with the Hoosiers. He was approached by a Union Association team and offered more money, but in a show of "steadfastness to his word", Thompson refused the offer and remained with Indianapolis at a pay of $100 per month. The Hoosiers were the dominant team in the Western League, compiling an .880 winning percentage.
Detroit Wolverines
Signing
In mid June 1885, the Western League disbanded, and a mad rush developed to sign the players on the Indianapolis roster, a line-up that included Thompson, Deacon McGuire, Sam Crane, Chub Collins, Jim Donnelly, Mox McQuery, Gene Moriarty, and Dan Casey.
Thompson later told the colorful story of his acquisition by Detroit. Detroit sent two representatives (Marsh and Maloney) to Indianapolis, principally to sign the Hoosiers' battery of Larry McKeon and Jim Keenan. The Wolverines were outbid by the Cincinnati Reds for McKeon and Keenan but wound up with the Hoosiers' manager (Bill Watkins) and the rest of the team's starting lineup. The only catch was that a 10-day waiting period would allow other teams to outbid Detroit. Marsh and Maloney promptly sent the players to Detroit and quartered them in a hotel there. The next morning, the players were told that the team had arranged a fishing trip for them. The players boarded the steamship Annette and enjoyed the first day and night of successful fishing. After three days, the players became suspicious, but the ship captain laughed when asked when they would return to Detroit. As the players became mutinous on the sixth day, the captain admitted he had been ordered to keep them "out at sea" for 10 days. In another account, Thompson described his 10 days aboard the Annette as follows: "We were prisoners, but well cared-for prisoners. Anything in the line of creature comforts you could find packed away on ice. We lived on the best in the market, and spent the rest of the time in fishing and playing poker, chips having very thoughtfully been provided. On the night of the tenth day, at midnight, we were all taken ashore where Watkins met us and signed us to our contracts."
The players were only later presented with their accumulated mail which included scores of offers from other clubs. A writer in the Detroit Free Press later noted: "Detroit magnates showed some inside baseball brains and great finessing in sending the players away from all tempters for that period when they belonged to no club."
Regardless of the trickery by Detroit, Thompson considered Detroit to be a mecca. He recalled his first time in 1885 viewing Woodward Avenue with Indianapolis teammate Mox McQuery. They gazed with "open-mouth amazement" at the "wondrous pavements", having never seen a street as "clean and smooth as a table."
1885 and 1886 seasons
Thompson joined the Wolverines lineup in early July. In his first plate appearance, he had a hit off New York Giants' Hall of Fame pitcher Tim Keefe. The Wolverines were in last place when Thompson joined the club, but won 12 of their first 13 games after Thompson took over in right field. Thompson compiled a .303 batting average in 63 games. Despite playing only the second half of his rookie season, Thompson ranked among the National League leaders with seven home runs (third most in the league) and nine triples (10th most in the league). Displaying a strong arm that would be one of the main features of his defensive game, Thompson also ranked fifth in the league with 24 outfield assists in only 63 games.
In 1886, team owner Frederick K. Stearns made a big splash when he purchased the Buffalo infield that had become known as the "Big Four", consisting of Dan Brouthers, Hardy Richardson, Jack Rowe, and Deacon White. In addition, Detroit pitcher Lady Baldwin won 42 games in 1886, a major league record for a left-handed pitcher. The 1886 season was Thompson's first full season in the majors. Thompson made a major contribution to the 1886 club as well, compiling a .310 batting average with 101 runs scored, 13 triples, and eight home runs in 122 games. His 89 runs batted in (RBIs) ranked third in the National League. His defensive statistics continued to impress as well. He led the league with 11 double plays from the outfield, ranked second with a .945 fielding percentage, and was fourth in the league with 194 outfield putouts. The 1886 Wolverines compiled an impressive 87–36 record (.707 winning percentage), but lost the National League pennant, finishing 2½ games behind the Chicago White Stockings.
1887 season
Thompson had his breakout season in 1887 when he won the National League batting crown with .372 batting average, and he set a major league record with 166 RBIs. Thompson also led the league in hits (203), triples (23), slugging percentage (.565), total bases (308), and at bats (545). On May 7, 1887, Thompson became the first player in major league history to hit two triples with the bases loaded in the same game. The 1887 Detroit Wolverines featured four future Hall of Fame inductees (Thompson, Dan Brouthers, Deacon White, and Ned Hanlon) and won the National League pennant with a 79-45 record. The Wolverines then went on to defeat the St. Louis Browns of the American Association in a 15-game World Series challenge. Thompson played in all 15 games of the World Series and led all hitters with a .362 average, two home runs, seven RBIs and a .621 slugging percentage.
1888 season
During the 1888 season, Thompson was sidelined with a sore arm during most of the season and appeared in only 56 games. His batting average declined by 90 points to .282, and the fortunes of the entire 1888 Detroit team followed suit. The team finished in fifth place with a 68-63 record. With high salaries owed to the team's star players, and gate receipts declining markedly, the team folded in October 1888 season with the players being sold to other teams.
Philadelphia Phillies
1889–1892
On October 16, 1888, Thompson was purchased from the Wolverines by the Philadelphia Quakers (known as the Philadelphia Phillies beginning in 1890), for $5,000 cash (equal to $ today).
In his first season with Philadelphia, Thompson hit .296 and led the National League with a career-high 20 home runs. He also became the first major league player to reach 20 home runs and 20 stolen bases (Thompson stole 24 bases) in the same season. Thompson improved his batting average to .313 in 1890 and led the league in both hits (172) and doubles (41). Thompson's batting average dipped slightly below .300 in 1891 (.294) but bounced back in 1892 to .305. In each of his first four seasons with the Phillies, Thompson finished among the league leaders in total bases and RBIs. He ranked third in total bases in 1889 (262), 1890 (243), and 1893 (263), second in RBIs in 1892 (104), and third in RBIs in 1890 (102). He also tallied a career-high 32 outfield assists to lead the National League in 1891. (It has been suggested that Thompson's assist and home run totals in Philadelphia were aided by the short 300-foot right field fence at the Huntingdon Street Grounds.) The Phillies were a good, but not great team, during Thompson's first four years in Philadelphia, finishing in fourth place in 1889, 1891 and 1892, and in third place in 1890.
1893–1895
From 1893 to 1895, Thompson hit his stride with the Phillies. During those three years, he hit .390 and averaged 207 hits, 125 runs, 146 RBIs, 21 triples, and 24 stolen bases. And he compiled those numbers while striking out an average of only 14 times per season. Despite Thompson's contributions, the Phillies were unable to compete for the National League pennant, finishing in fourth place in 1893 and 1894 and in third place in 1895.
Thompson's 1893 totals included a league-leading 222 hits and 37 doubles. After the 1893 season, Thompson vowed not to return to Philadelphia in protest over the owners' penny-pinching ways and the team's inability to compete for a pennant. In October 1893, Thompson announced: "I shall not play again in Philadelphia, and I told Harry Wright it would be a waste of time for him to write to me about signing. The cheese-paring methods of the management ... have been the causes leading to my resolution. ... The management [has] made a barrel of money, but they grind the players into the dirt." Thompson finally agreed in March 1894 to return to the Phillies, but only after management agreed to improve travel accommodations.
In 1894, Thompson was part of the only all-.400-hitting outfield of all-time. All four Philadelphia outfielders ended the season with a batting average better than .400 (Tuck Turner at .416, Thompson and Ed Delahanty at .407, and Billy Hamilton at .404). Thompson missed a month from the 1894 season with an injury to the little finger on his left hand. Doctors determined that the smaller bones in the finger were dead, and portions of the finger were surgically removed in mid-May 1894. Despite the injury and partial amputation, and being limited to only 102 games, Thompson compiled a .407 batting average with a career-high 28 triples and a league-leading 147 RBIs. His 1894 ratio of 1.44 RBIs per game remains the all-time major league record. Also, his 28 triples was the second highest total in major league history up to that time and remains the fifth highest of all time. Thompson also led the National League with a career-high .696 slugging percentage, and he hit for the cycle on August 17, 1894.
In 1895, Thompson compiled a .392 batting average with 211 hits in 119 games and led the National League in slugging percentage (.654), total bases (352), extra base hits (84), home runs (18), and RBIs (165). His average of 1.39 RBIs per game in 1895 remains second in major league history—trailing Thompson's 1.44 ratio in 1894. Thompson also continued to perform well defensively with 31 outfield assists, second most in the league. From June 11 to 21, Thompson had 6 consecutive games with at least 3 or more hits. Since then, only Jimmy Johnston (June 24–30, 1923) and George Brett (May 8–13, 1976) had 6 straight games with at least 3 or more hits.
1896–1898
At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record.
In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record.
Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire.
Detroit Tigers
Late in the 1906 baseball season, Thompson briefly returned to the major leagues as a player for the Detroit Tigers. With starting outfielders Ty Cobb and Davy Jones out of the Tigers lineup with injuries, Thompson volunteered to fill in. At age 46, Thompson had remained active, playing baseball for the Detroit Athletic Club and other local teams. Accordingly, in late August and early September 1906, he took his old place in right field for Detroit. Thompson's return to baseball led to an increase in attendance, as "the stands and bleachers were full of special Thompson delegations." After getting a hit and two RBIs in his first game, he totaled seven hits, four runs, three RBIs and a triple in eight games with the Tigers. At age 46, he became, and remains, the oldest player to hit a triple in the major leagues. Detroit sports writer Paul H. Bruske noted that Thompson was still able to throw the ball from deep right field to the plate "on a line" and that he still had "a lot of speed on the bases."
Career statistics and legacy
In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974.
Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies.
Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."
In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford.
Family and later years
Thompson was married in 1888 to Ida Morasha of Detroit. They had no children and made their home in Detroit until Thompson's death. After retiring from baseball, Thompson invested in real estate and was financially comfortable in his later years. He was appointed a U.S. Deputy Marshall during World War I and also worked as the crier in the courtroom of U.S. District Court Judge Arthur J. Tuttle. He was "well known" and a "well liked" figure at the federal building in Detroit.
Thompson died in 1922 at age 62. He had a heart attack while serving as an election inspector on November 7 and was stricken again later in the morning after being taken to his home located at 6468 Trumbull Avenue in Detroit. Upon learning of Thompson's death, his former Detroit manager Bill Watkins recalled Thompson as "not only a great baseball player, but as one of the finest gentlemen I ever knew." At Thompson's funeral, "Michigan's foremost citizens – state and city officials, judges, bankers, doctors, millionaires, laborers – paid homage ... to their beloved friend", and the neighborhood in which Thompson lived "was packed with expensive automobiles and their liveried chauffeurs" as workmen and wealthy men "discussed their favorite player with an unusual spirit of camaraderie." Thompson was interred at the historic Elmwood Cemetery in Detroit. He was posthumously inducted into the Baseball Hall of Fame in 1974.
See also
1887 Detroit Wolverines season
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career triples leaders
List of Major League Baseball batting champions
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball annual doubles leaders
List of Major League Baseball annual triples leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game hits leaders
References
External links
1860 births
1922 deaths
People from Danville, Indiana
Baseball players from Indiana
Burials at Elmwood Cemetery (Detroit, Michigan)
National Baseball Hall of Fame inductees
Major League Baseball right fielders
19th-century baseball players
Detroit Wolverines players
Philadelphia Quakers players
Philadelphia Phillies players
Detroit Tigers players
National League batting champions
National League home run champions
National League RBI champions
Evansville (minor league baseball) players
Indianapolis Hoosiers (minor league) players | true | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"The 1939–40 Montreal Canadiens season was the 31st season in franchise history. The team placed seventh in the regular season and did not qualify for the playoffs for the first time since the 1935–36 season. The Canadiens would not finish a season in last place for another fifty-nine years.\n\nRegular season\nThe Canadiens' first game saw them score what would be a season-high 8 goals as they defeated the Chicago Black Hawks 8–2 at the Montreal Forum on November 5, 1939. The Habs were undefeated over their first six games (4-0-2) and were 6-2-2 in their first ten. After that, however, long winless streaks were the rule. They went 3-8-0 in December, 1-10-1 in January, 1-8-1 in February and 1-5-1 in March. Their most lopsided loss happened on February 22, 1940 – 1–10 against the Chicago Black Hawks at Chicago.\n\nFinal standings\n\nRecord vs. opponents\n\nSchedule and results\n\nPlayer statistics\n\nRegular season\nScoring\n\nGoaltending\n\nAwards and records\n\nTransactions\n\nPlayoffs\nThey didn't qualify for the playoffs\n\nSee also\n 1939–40 NHL season\n\nReferences\nCanadiens on Hockey Database\nCanadiens on NHL Reference\n\nMontreal Canadiens seasons\nMontreal\nMontreal"
]
|
[
"Sam Thompson",
"1896-98 seasons",
"What happened with the 1896-98 seasons?",
"At age 36, Thompson played his last full season of professional baseball in 1896.",
"What was the reason he played his last season?",
"His average dipped to .298, but he still managed to collect 100 RBIs.",
"What happened after his last season?",
"In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games."
]
| C_d7b556395dbc4ddb9287757223433c41_1 | Was he hospitalized? | 4 | Was Sam Thompson hospitalized? | Sam Thompson | At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record. In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record. Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire. CANNOTANSWER | CANNOTANSWER | Samuel Luther "Big Sam" Thompson (March 5, 1860 – November 7, 1922) was an American professional baseball player from 1884 to 1898 and with a brief comeback in 1906. At , the Indiana native was one of the larger players of his day and was known for his prominent handlebar mustache. He played as a right fielder in Major League Baseball for the Detroit Wolverines (1885–1888), Philadelphia Phillies (1889–1898) and Detroit Tigers (1906). He was inducted into the Baseball Hall of Fame in 1974.
Thompson had a .331 career batting average and was one of the most prolific run producers in baseball history. His career run batted in (RBI) to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history. In 1895, Thompson averaged 1.44 RBIs per game, and his 166 RBIs in 1887 (in only 127 games) remained the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies. Manager Bill Watkins in 1922 called Thompson "the greatest natural hitter of all time."
Defensively, Thompson was known to have one of the strongest arms of any outfielder in the early decades of the game. He still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson also had good speed on the base paths and, in 1889, he became the first major league player to reach 20 home runs and 20 stolen bases in the same season.
Early years
Thompson was born in Danville, Indiana, in 1860. He was the fifth of eleven children born to Jesse and Rebecca Thompson. He was educated at the Danville Graded School. After reaching adulthood, Thompson became employed as a carpenter in Danville. He and five of his brothers also played on a local baseball team known as the Danville Browns.
Baseball career
Evansville and Indianapolis
In July 1884, Thompson began his professional baseball career at age 24, playing for the Evansville, Indiana, team in the Northwestern League. A scout for Evansville travelled to Danville and was referred to "Big Sam", who was working on a roof in Stinesville. Thompson was initially reluctant to give up his carpentry career and travel 150 miles to Evansville, but he ultimately agreed to give it a try. Unfortunately, the league folded in early August 1884, after only five games. In five games at Evansville, Thompson compiled a .391 batting average.
Thompson signed with the Indianapolis Hoosiers of the newly formed Western League in 1885. He compiled a .321 average in 30 games with the Hoosiers. He was approached by a Union Association team and offered more money, but in a show of "steadfastness to his word", Thompson refused the offer and remained with Indianapolis at a pay of $100 per month. The Hoosiers were the dominant team in the Western League, compiling an .880 winning percentage.
Detroit Wolverines
Signing
In mid June 1885, the Western League disbanded, and a mad rush developed to sign the players on the Indianapolis roster, a line-up that included Thompson, Deacon McGuire, Sam Crane, Chub Collins, Jim Donnelly, Mox McQuery, Gene Moriarty, and Dan Casey.
Thompson later told the colorful story of his acquisition by Detroit. Detroit sent two representatives (Marsh and Maloney) to Indianapolis, principally to sign the Hoosiers' battery of Larry McKeon and Jim Keenan. The Wolverines were outbid by the Cincinnati Reds for McKeon and Keenan but wound up with the Hoosiers' manager (Bill Watkins) and the rest of the team's starting lineup. The only catch was that a 10-day waiting period would allow other teams to outbid Detroit. Marsh and Maloney promptly sent the players to Detroit and quartered them in a hotel there. The next morning, the players were told that the team had arranged a fishing trip for them. The players boarded the steamship Annette and enjoyed the first day and night of successful fishing. After three days, the players became suspicious, but the ship captain laughed when asked when they would return to Detroit. As the players became mutinous on the sixth day, the captain admitted he had been ordered to keep them "out at sea" for 10 days. In another account, Thompson described his 10 days aboard the Annette as follows: "We were prisoners, but well cared-for prisoners. Anything in the line of creature comforts you could find packed away on ice. We lived on the best in the market, and spent the rest of the time in fishing and playing poker, chips having very thoughtfully been provided. On the night of the tenth day, at midnight, we were all taken ashore where Watkins met us and signed us to our contracts."
The players were only later presented with their accumulated mail which included scores of offers from other clubs. A writer in the Detroit Free Press later noted: "Detroit magnates showed some inside baseball brains and great finessing in sending the players away from all tempters for that period when they belonged to no club."
Regardless of the trickery by Detroit, Thompson considered Detroit to be a mecca. He recalled his first time in 1885 viewing Woodward Avenue with Indianapolis teammate Mox McQuery. They gazed with "open-mouth amazement" at the "wondrous pavements", having never seen a street as "clean and smooth as a table."
1885 and 1886 seasons
Thompson joined the Wolverines lineup in early July. In his first plate appearance, he had a hit off New York Giants' Hall of Fame pitcher Tim Keefe. The Wolverines were in last place when Thompson joined the club, but won 12 of their first 13 games after Thompson took over in right field. Thompson compiled a .303 batting average in 63 games. Despite playing only the second half of his rookie season, Thompson ranked among the National League leaders with seven home runs (third most in the league) and nine triples (10th most in the league). Displaying a strong arm that would be one of the main features of his defensive game, Thompson also ranked fifth in the league with 24 outfield assists in only 63 games.
In 1886, team owner Frederick K. Stearns made a big splash when he purchased the Buffalo infield that had become known as the "Big Four", consisting of Dan Brouthers, Hardy Richardson, Jack Rowe, and Deacon White. In addition, Detroit pitcher Lady Baldwin won 42 games in 1886, a major league record for a left-handed pitcher. The 1886 season was Thompson's first full season in the majors. Thompson made a major contribution to the 1886 club as well, compiling a .310 batting average with 101 runs scored, 13 triples, and eight home runs in 122 games. His 89 runs batted in (RBIs) ranked third in the National League. His defensive statistics continued to impress as well. He led the league with 11 double plays from the outfield, ranked second with a .945 fielding percentage, and was fourth in the league with 194 outfield putouts. The 1886 Wolverines compiled an impressive 87–36 record (.707 winning percentage), but lost the National League pennant, finishing 2½ games behind the Chicago White Stockings.
1887 season
Thompson had his breakout season in 1887 when he won the National League batting crown with .372 batting average, and he set a major league record with 166 RBIs. Thompson also led the league in hits (203), triples (23), slugging percentage (.565), total bases (308), and at bats (545). On May 7, 1887, Thompson became the first player in major league history to hit two triples with the bases loaded in the same game. The 1887 Detroit Wolverines featured four future Hall of Fame inductees (Thompson, Dan Brouthers, Deacon White, and Ned Hanlon) and won the National League pennant with a 79-45 record. The Wolverines then went on to defeat the St. Louis Browns of the American Association in a 15-game World Series challenge. Thompson played in all 15 games of the World Series and led all hitters with a .362 average, two home runs, seven RBIs and a .621 slugging percentage.
1888 season
During the 1888 season, Thompson was sidelined with a sore arm during most of the season and appeared in only 56 games. His batting average declined by 90 points to .282, and the fortunes of the entire 1888 Detroit team followed suit. The team finished in fifth place with a 68-63 record. With high salaries owed to the team's star players, and gate receipts declining markedly, the team folded in October 1888 season with the players being sold to other teams.
Philadelphia Phillies
1889–1892
On October 16, 1888, Thompson was purchased from the Wolverines by the Philadelphia Quakers (known as the Philadelphia Phillies beginning in 1890), for $5,000 cash (equal to $ today).
In his first season with Philadelphia, Thompson hit .296 and led the National League with a career-high 20 home runs. He also became the first major league player to reach 20 home runs and 20 stolen bases (Thompson stole 24 bases) in the same season. Thompson improved his batting average to .313 in 1890 and led the league in both hits (172) and doubles (41). Thompson's batting average dipped slightly below .300 in 1891 (.294) but bounced back in 1892 to .305. In each of his first four seasons with the Phillies, Thompson finished among the league leaders in total bases and RBIs. He ranked third in total bases in 1889 (262), 1890 (243), and 1893 (263), second in RBIs in 1892 (104), and third in RBIs in 1890 (102). He also tallied a career-high 32 outfield assists to lead the National League in 1891. (It has been suggested that Thompson's assist and home run totals in Philadelphia were aided by the short 300-foot right field fence at the Huntingdon Street Grounds.) The Phillies were a good, but not great team, during Thompson's first four years in Philadelphia, finishing in fourth place in 1889, 1891 and 1892, and in third place in 1890.
1893–1895
From 1893 to 1895, Thompson hit his stride with the Phillies. During those three years, he hit .390 and averaged 207 hits, 125 runs, 146 RBIs, 21 triples, and 24 stolen bases. And he compiled those numbers while striking out an average of only 14 times per season. Despite Thompson's contributions, the Phillies were unable to compete for the National League pennant, finishing in fourth place in 1893 and 1894 and in third place in 1895.
Thompson's 1893 totals included a league-leading 222 hits and 37 doubles. After the 1893 season, Thompson vowed not to return to Philadelphia in protest over the owners' penny-pinching ways and the team's inability to compete for a pennant. In October 1893, Thompson announced: "I shall not play again in Philadelphia, and I told Harry Wright it would be a waste of time for him to write to me about signing. The cheese-paring methods of the management ... have been the causes leading to my resolution. ... The management [has] made a barrel of money, but they grind the players into the dirt." Thompson finally agreed in March 1894 to return to the Phillies, but only after management agreed to improve travel accommodations.
In 1894, Thompson was part of the only all-.400-hitting outfield of all-time. All four Philadelphia outfielders ended the season with a batting average better than .400 (Tuck Turner at .416, Thompson and Ed Delahanty at .407, and Billy Hamilton at .404). Thompson missed a month from the 1894 season with an injury to the little finger on his left hand. Doctors determined that the smaller bones in the finger were dead, and portions of the finger were surgically removed in mid-May 1894. Despite the injury and partial amputation, and being limited to only 102 games, Thompson compiled a .407 batting average with a career-high 28 triples and a league-leading 147 RBIs. His 1894 ratio of 1.44 RBIs per game remains the all-time major league record. Also, his 28 triples was the second highest total in major league history up to that time and remains the fifth highest of all time. Thompson also led the National League with a career-high .696 slugging percentage, and he hit for the cycle on August 17, 1894.
In 1895, Thompson compiled a .392 batting average with 211 hits in 119 games and led the National League in slugging percentage (.654), total bases (352), extra base hits (84), home runs (18), and RBIs (165). His average of 1.39 RBIs per game in 1895 remains second in major league history—trailing Thompson's 1.44 ratio in 1894. Thompson also continued to perform well defensively with 31 outfield assists, second most in the league. From June 11 to 21, Thompson had 6 consecutive games with at least 3 or more hits. Since then, only Jimmy Johnston (June 24–30, 1923) and George Brett (May 8–13, 1976) had 6 straight games with at least 3 or more hits.
1896–1898
At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record.
In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record.
Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire.
Detroit Tigers
Late in the 1906 baseball season, Thompson briefly returned to the major leagues as a player for the Detroit Tigers. With starting outfielders Ty Cobb and Davy Jones out of the Tigers lineup with injuries, Thompson volunteered to fill in. At age 46, Thompson had remained active, playing baseball for the Detroit Athletic Club and other local teams. Accordingly, in late August and early September 1906, he took his old place in right field for Detroit. Thompson's return to baseball led to an increase in attendance, as "the stands and bleachers were full of special Thompson delegations." After getting a hit and two RBIs in his first game, he totaled seven hits, four runs, three RBIs and a triple in eight games with the Tigers. At age 46, he became, and remains, the oldest player to hit a triple in the major leagues. Detroit sports writer Paul H. Bruske noted that Thompson was still able to throw the ball from deep right field to the plate "on a line" and that he still had "a lot of speed on the bases."
Career statistics and legacy
In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974.
Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies.
Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."
In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford.
Family and later years
Thompson was married in 1888 to Ida Morasha of Detroit. They had no children and made their home in Detroit until Thompson's death. After retiring from baseball, Thompson invested in real estate and was financially comfortable in his later years. He was appointed a U.S. Deputy Marshall during World War I and also worked as the crier in the courtroom of U.S. District Court Judge Arthur J. Tuttle. He was "well known" and a "well liked" figure at the federal building in Detroit.
Thompson died in 1922 at age 62. He had a heart attack while serving as an election inspector on November 7 and was stricken again later in the morning after being taken to his home located at 6468 Trumbull Avenue in Detroit. Upon learning of Thompson's death, his former Detroit manager Bill Watkins recalled Thompson as "not only a great baseball player, but as one of the finest gentlemen I ever knew." At Thompson's funeral, "Michigan's foremost citizens – state and city officials, judges, bankers, doctors, millionaires, laborers – paid homage ... to their beloved friend", and the neighborhood in which Thompson lived "was packed with expensive automobiles and their liveried chauffeurs" as workmen and wealthy men "discussed their favorite player with an unusual spirit of camaraderie." Thompson was interred at the historic Elmwood Cemetery in Detroit. He was posthumously inducted into the Baseball Hall of Fame in 1974.
See also
1887 Detroit Wolverines season
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career triples leaders
List of Major League Baseball batting champions
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball annual doubles leaders
List of Major League Baseball annual triples leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game hits leaders
References
External links
1860 births
1922 deaths
People from Danville, Indiana
Baseball players from Indiana
Burials at Elmwood Cemetery (Detroit, Michigan)
National Baseball Hall of Fame inductees
Major League Baseball right fielders
19th-century baseball players
Detroit Wolverines players
Philadelphia Quakers players
Philadelphia Phillies players
Detroit Tigers players
National League batting champions
National League home run champions
National League RBI champions
Evansville (minor league baseball) players
Indianapolis Hoosiers (minor league) players | false | [
"Cards for Hospitalized Kids is an American national charitable organization based in Chicago that was launched in March 2011 by Jen Rubino. The mission of Cards for Hospitalized Kids is to provide hospitalized children with hope, joy and magic through handmade cards.\n\nPeople across the country are involved with Cards for Hospitalized Kids and send in cards for them to distribute to hospitals. Cards for Hospitalized Kids has received support from multiple celebrities such as Lauren Conrad, Nastia Liukin, and Aly Raisman who send in cards and autographed pictures for Cards for Hospitalized Kids to distribute in hospitals. Individuals and organizations also become involved with Cards for Hospitalized Kids by hosting their own card-making events where they make cards for Cards for Hospitalized Kids to distribute in hospitals. IndyCar racer Graham Rahal, who is involved with Cards for Hospitalized Kids, and his foundation hosted their own card-making event for Cards for Hospitalized Kids in May 2012. Dolphin trainers at Sea World San Diego also hosted their own card-making event for Cards for Hospitalized Kids in December 2011. As a result of this national support, thousands of children at more than 150 hospitals and Ronald McDonald Houses nationwide have received cards from them. Cards are delivered to hospitals monthly. In 2013, Cards for Hospitalized Kids began to receive international support with cards arriving from other countries such as Japan, Australia, and Israel.\n\nCards for Hospitalized Kids has utilized social media tremendously. They continue to spread the word through their Facebook and Twitter accounts, which has helped them gain support from people around the world. Tweets from MTV Star Lauren Conrad resulted in nearly 500 additional Twitter followers for them. Another way Cards for Hospitalized Kids has spread the word is through the media. Cards for Hospitalized Kids has been featured in many publications such as International Gymnast Magazine, the Sun Times, the TribLocal, Teen Voices Magazine and MTV Act among others. Founder Jen Rubino has also blogged about Cards for Hospitalized Kids and her own experience in the hospital for the Huffington Post. They also maintain a website.\n\nCards for Hospitalized Kids and its founder, Jen Rubino, have received multiple honors and awards for their service. In November 2012, Founder Jen Rubino received the Daily Point of Light Award for her work doing Cards for Hospitalized Kids. The award was created by President George H. W. Bush to \"honor individuals and groups creating meaningful change in communities across America\". To this day, President Bush continues to sign all of the awards. In June 2013, Founder Jen Rubino was awarded the Prudential Spirit of Community Award from Prudential Financial for her work doing Cards for Hospitalized Kids. The Illinois House of Representatives also recognized Cards for Hospitalized Kids and Founder Jen Rubino in a resolution in which they detailed some of the accomplishments of Cards for Hospitalized Kids and expressed congratulations to Rubino on receiving the Prudential Spirit of Community award.\n\nReferences\n\nExternal links\n\nChildren's charities based in the United States",
"Ejaz Qaiser (1952 – 26 May 2020) was a Pakistani singer. He was known for singing Ghazals. On 14 August 2015, President of Pakistan bestowed him with Pride of Performance.\n\nDeath \nHe was suffering from multiple diseases. On 25 May 2020, he was hospitalized in Faisalabad. He died on 26 May 2020, at the age of 68. His funeral was held in Faisalabad.\n\nReferences\n\n1952 births\n2020 deaths\nPakistani ghazal singers\nMale ghazal singers\nRecipients of the Pride of Performance\n20th-century Pakistani male singers\n21st-century Pakistani male singers"
]
|
[
"Sam Thompson",
"1896-98 seasons",
"What happened with the 1896-98 seasons?",
"At age 36, Thompson played his last full season of professional baseball in 1896.",
"What was the reason he played his last season?",
"His average dipped to .298, but he still managed to collect 100 RBIs.",
"What happened after his last season?",
"In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games.",
"Was he hospitalized?",
"I don't know."
]
| C_d7b556395dbc4ddb9287757223433c41_1 | How long was he in pain? | 5 | How long was Sam Thompson in pain? | Sam Thompson | At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record. In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record. Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire. CANNOTANSWER | May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain. | Samuel Luther "Big Sam" Thompson (March 5, 1860 – November 7, 1922) was an American professional baseball player from 1884 to 1898 and with a brief comeback in 1906. At , the Indiana native was one of the larger players of his day and was known for his prominent handlebar mustache. He played as a right fielder in Major League Baseball for the Detroit Wolverines (1885–1888), Philadelphia Phillies (1889–1898) and Detroit Tigers (1906). He was inducted into the Baseball Hall of Fame in 1974.
Thompson had a .331 career batting average and was one of the most prolific run producers in baseball history. His career run batted in (RBI) to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history. In 1895, Thompson averaged 1.44 RBIs per game, and his 166 RBIs in 1887 (in only 127 games) remained the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies. Manager Bill Watkins in 1922 called Thompson "the greatest natural hitter of all time."
Defensively, Thompson was known to have one of the strongest arms of any outfielder in the early decades of the game. He still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson also had good speed on the base paths and, in 1889, he became the first major league player to reach 20 home runs and 20 stolen bases in the same season.
Early years
Thompson was born in Danville, Indiana, in 1860. He was the fifth of eleven children born to Jesse and Rebecca Thompson. He was educated at the Danville Graded School. After reaching adulthood, Thompson became employed as a carpenter in Danville. He and five of his brothers also played on a local baseball team known as the Danville Browns.
Baseball career
Evansville and Indianapolis
In July 1884, Thompson began his professional baseball career at age 24, playing for the Evansville, Indiana, team in the Northwestern League. A scout for Evansville travelled to Danville and was referred to "Big Sam", who was working on a roof in Stinesville. Thompson was initially reluctant to give up his carpentry career and travel 150 miles to Evansville, but he ultimately agreed to give it a try. Unfortunately, the league folded in early August 1884, after only five games. In five games at Evansville, Thompson compiled a .391 batting average.
Thompson signed with the Indianapolis Hoosiers of the newly formed Western League in 1885. He compiled a .321 average in 30 games with the Hoosiers. He was approached by a Union Association team and offered more money, but in a show of "steadfastness to his word", Thompson refused the offer and remained with Indianapolis at a pay of $100 per month. The Hoosiers were the dominant team in the Western League, compiling an .880 winning percentage.
Detroit Wolverines
Signing
In mid June 1885, the Western League disbanded, and a mad rush developed to sign the players on the Indianapolis roster, a line-up that included Thompson, Deacon McGuire, Sam Crane, Chub Collins, Jim Donnelly, Mox McQuery, Gene Moriarty, and Dan Casey.
Thompson later told the colorful story of his acquisition by Detroit. Detroit sent two representatives (Marsh and Maloney) to Indianapolis, principally to sign the Hoosiers' battery of Larry McKeon and Jim Keenan. The Wolverines were outbid by the Cincinnati Reds for McKeon and Keenan but wound up with the Hoosiers' manager (Bill Watkins) and the rest of the team's starting lineup. The only catch was that a 10-day waiting period would allow other teams to outbid Detroit. Marsh and Maloney promptly sent the players to Detroit and quartered them in a hotel there. The next morning, the players were told that the team had arranged a fishing trip for them. The players boarded the steamship Annette and enjoyed the first day and night of successful fishing. After three days, the players became suspicious, but the ship captain laughed when asked when they would return to Detroit. As the players became mutinous on the sixth day, the captain admitted he had been ordered to keep them "out at sea" for 10 days. In another account, Thompson described his 10 days aboard the Annette as follows: "We were prisoners, but well cared-for prisoners. Anything in the line of creature comforts you could find packed away on ice. We lived on the best in the market, and spent the rest of the time in fishing and playing poker, chips having very thoughtfully been provided. On the night of the tenth day, at midnight, we were all taken ashore where Watkins met us and signed us to our contracts."
The players were only later presented with their accumulated mail which included scores of offers from other clubs. A writer in the Detroit Free Press later noted: "Detroit magnates showed some inside baseball brains and great finessing in sending the players away from all tempters for that period when they belonged to no club."
Regardless of the trickery by Detroit, Thompson considered Detroit to be a mecca. He recalled his first time in 1885 viewing Woodward Avenue with Indianapolis teammate Mox McQuery. They gazed with "open-mouth amazement" at the "wondrous pavements", having never seen a street as "clean and smooth as a table."
1885 and 1886 seasons
Thompson joined the Wolverines lineup in early July. In his first plate appearance, he had a hit off New York Giants' Hall of Fame pitcher Tim Keefe. The Wolverines were in last place when Thompson joined the club, but won 12 of their first 13 games after Thompson took over in right field. Thompson compiled a .303 batting average in 63 games. Despite playing only the second half of his rookie season, Thompson ranked among the National League leaders with seven home runs (third most in the league) and nine triples (10th most in the league). Displaying a strong arm that would be one of the main features of his defensive game, Thompson also ranked fifth in the league with 24 outfield assists in only 63 games.
In 1886, team owner Frederick K. Stearns made a big splash when he purchased the Buffalo infield that had become known as the "Big Four", consisting of Dan Brouthers, Hardy Richardson, Jack Rowe, and Deacon White. In addition, Detroit pitcher Lady Baldwin won 42 games in 1886, a major league record for a left-handed pitcher. The 1886 season was Thompson's first full season in the majors. Thompson made a major contribution to the 1886 club as well, compiling a .310 batting average with 101 runs scored, 13 triples, and eight home runs in 122 games. His 89 runs batted in (RBIs) ranked third in the National League. His defensive statistics continued to impress as well. He led the league with 11 double plays from the outfield, ranked second with a .945 fielding percentage, and was fourth in the league with 194 outfield putouts. The 1886 Wolverines compiled an impressive 87–36 record (.707 winning percentage), but lost the National League pennant, finishing 2½ games behind the Chicago White Stockings.
1887 season
Thompson had his breakout season in 1887 when he won the National League batting crown with .372 batting average, and he set a major league record with 166 RBIs. Thompson also led the league in hits (203), triples (23), slugging percentage (.565), total bases (308), and at bats (545). On May 7, 1887, Thompson became the first player in major league history to hit two triples with the bases loaded in the same game. The 1887 Detroit Wolverines featured four future Hall of Fame inductees (Thompson, Dan Brouthers, Deacon White, and Ned Hanlon) and won the National League pennant with a 79-45 record. The Wolverines then went on to defeat the St. Louis Browns of the American Association in a 15-game World Series challenge. Thompson played in all 15 games of the World Series and led all hitters with a .362 average, two home runs, seven RBIs and a .621 slugging percentage.
1888 season
During the 1888 season, Thompson was sidelined with a sore arm during most of the season and appeared in only 56 games. His batting average declined by 90 points to .282, and the fortunes of the entire 1888 Detroit team followed suit. The team finished in fifth place with a 68-63 record. With high salaries owed to the team's star players, and gate receipts declining markedly, the team folded in October 1888 season with the players being sold to other teams.
Philadelphia Phillies
1889–1892
On October 16, 1888, Thompson was purchased from the Wolverines by the Philadelphia Quakers (known as the Philadelphia Phillies beginning in 1890), for $5,000 cash (equal to $ today).
In his first season with Philadelphia, Thompson hit .296 and led the National League with a career-high 20 home runs. He also became the first major league player to reach 20 home runs and 20 stolen bases (Thompson stole 24 bases) in the same season. Thompson improved his batting average to .313 in 1890 and led the league in both hits (172) and doubles (41). Thompson's batting average dipped slightly below .300 in 1891 (.294) but bounced back in 1892 to .305. In each of his first four seasons with the Phillies, Thompson finished among the league leaders in total bases and RBIs. He ranked third in total bases in 1889 (262), 1890 (243), and 1893 (263), second in RBIs in 1892 (104), and third in RBIs in 1890 (102). He also tallied a career-high 32 outfield assists to lead the National League in 1891. (It has been suggested that Thompson's assist and home run totals in Philadelphia were aided by the short 300-foot right field fence at the Huntingdon Street Grounds.) The Phillies were a good, but not great team, during Thompson's first four years in Philadelphia, finishing in fourth place in 1889, 1891 and 1892, and in third place in 1890.
1893–1895
From 1893 to 1895, Thompson hit his stride with the Phillies. During those three years, he hit .390 and averaged 207 hits, 125 runs, 146 RBIs, 21 triples, and 24 stolen bases. And he compiled those numbers while striking out an average of only 14 times per season. Despite Thompson's contributions, the Phillies were unable to compete for the National League pennant, finishing in fourth place in 1893 and 1894 and in third place in 1895.
Thompson's 1893 totals included a league-leading 222 hits and 37 doubles. After the 1893 season, Thompson vowed not to return to Philadelphia in protest over the owners' penny-pinching ways and the team's inability to compete for a pennant. In October 1893, Thompson announced: "I shall not play again in Philadelphia, and I told Harry Wright it would be a waste of time for him to write to me about signing. The cheese-paring methods of the management ... have been the causes leading to my resolution. ... The management [has] made a barrel of money, but they grind the players into the dirt." Thompson finally agreed in March 1894 to return to the Phillies, but only after management agreed to improve travel accommodations.
In 1894, Thompson was part of the only all-.400-hitting outfield of all-time. All four Philadelphia outfielders ended the season with a batting average better than .400 (Tuck Turner at .416, Thompson and Ed Delahanty at .407, and Billy Hamilton at .404). Thompson missed a month from the 1894 season with an injury to the little finger on his left hand. Doctors determined that the smaller bones in the finger were dead, and portions of the finger were surgically removed in mid-May 1894. Despite the injury and partial amputation, and being limited to only 102 games, Thompson compiled a .407 batting average with a career-high 28 triples and a league-leading 147 RBIs. His 1894 ratio of 1.44 RBIs per game remains the all-time major league record. Also, his 28 triples was the second highest total in major league history up to that time and remains the fifth highest of all time. Thompson also led the National League with a career-high .696 slugging percentage, and he hit for the cycle on August 17, 1894.
In 1895, Thompson compiled a .392 batting average with 211 hits in 119 games and led the National League in slugging percentage (.654), total bases (352), extra base hits (84), home runs (18), and RBIs (165). His average of 1.39 RBIs per game in 1895 remains second in major league history—trailing Thompson's 1.44 ratio in 1894. Thompson also continued to perform well defensively with 31 outfield assists, second most in the league. From June 11 to 21, Thompson had 6 consecutive games with at least 3 or more hits. Since then, only Jimmy Johnston (June 24–30, 1923) and George Brett (May 8–13, 1976) had 6 straight games with at least 3 or more hits.
1896–1898
At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record.
In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record.
Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire.
Detroit Tigers
Late in the 1906 baseball season, Thompson briefly returned to the major leagues as a player for the Detroit Tigers. With starting outfielders Ty Cobb and Davy Jones out of the Tigers lineup with injuries, Thompson volunteered to fill in. At age 46, Thompson had remained active, playing baseball for the Detroit Athletic Club and other local teams. Accordingly, in late August and early September 1906, he took his old place in right field for Detroit. Thompson's return to baseball led to an increase in attendance, as "the stands and bleachers were full of special Thompson delegations." After getting a hit and two RBIs in his first game, he totaled seven hits, four runs, three RBIs and a triple in eight games with the Tigers. At age 46, he became, and remains, the oldest player to hit a triple in the major leagues. Detroit sports writer Paul H. Bruske noted that Thompson was still able to throw the ball from deep right field to the plate "on a line" and that he still had "a lot of speed on the bases."
Career statistics and legacy
In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974.
Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies.
Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."
In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford.
Family and later years
Thompson was married in 1888 to Ida Morasha of Detroit. They had no children and made their home in Detroit until Thompson's death. After retiring from baseball, Thompson invested in real estate and was financially comfortable in his later years. He was appointed a U.S. Deputy Marshall during World War I and also worked as the crier in the courtroom of U.S. District Court Judge Arthur J. Tuttle. He was "well known" and a "well liked" figure at the federal building in Detroit.
Thompson died in 1922 at age 62. He had a heart attack while serving as an election inspector on November 7 and was stricken again later in the morning after being taken to his home located at 6468 Trumbull Avenue in Detroit. Upon learning of Thompson's death, his former Detroit manager Bill Watkins recalled Thompson as "not only a great baseball player, but as one of the finest gentlemen I ever knew." At Thompson's funeral, "Michigan's foremost citizens – state and city officials, judges, bankers, doctors, millionaires, laborers – paid homage ... to their beloved friend", and the neighborhood in which Thompson lived "was packed with expensive automobiles and their liveried chauffeurs" as workmen and wealthy men "discussed their favorite player with an unusual spirit of camaraderie." Thompson was interred at the historic Elmwood Cemetery in Detroit. He was posthumously inducted into the Baseball Hall of Fame in 1974.
See also
1887 Detroit Wolverines season
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career triples leaders
List of Major League Baseball batting champions
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball annual doubles leaders
List of Major League Baseball annual triples leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game hits leaders
References
External links
1860 births
1922 deaths
People from Danville, Indiana
Baseball players from Indiana
Burials at Elmwood Cemetery (Detroit, Michigan)
National Baseball Hall of Fame inductees
Major League Baseball right fielders
19th-century baseball players
Detroit Wolverines players
Philadelphia Quakers players
Philadelphia Phillies players
Detroit Tigers players
National League batting champions
National League home run champions
National League RBI champions
Evansville (minor league baseball) players
Indianapolis Hoosiers (minor league) players | false | [
"William D. Willis (July 19, 1934 – September 15, 2015) was a neuroscientist and a pioneer in researching pain pathways in the body. He investigated how pain travels through the body and is received in the brain.\n\nEducation \n\nWilliam attended Texas A&M University and received a bachelor of science in Zoology and a bachelor of arts in English in 1956. He attended University of Texas Southwestern Medical School and received a M.D. in 1960. He then received a Ph.D. in Physiology at Australian National University in 1963 under the tutelage of Sir John Eccles.\n\nAcademic career \nAfter receiving his Ph.D. he started his postdoctoral research fellowship at the Instituto di Fisiologia, University of Pisa working with G. Moruzzi as his mentor in 1963. In the same year he returned to the University of Texas Southwestern Medical School as an assistant professor of Anatomy. In 1964 he was appointed Chairman of its Anatomy Department.\n\nIn 1970 Willis became Chief of the Comparative Neurobiology Division at the Marine Biomedical Institute. In 1978 he became the Director at the Marine Biomedical Institute and in 1986 the Professor and Chairman of the Department of Anatomy & Neurosciences. He held the Ashbel Smith Professor (1986-1994)and the Cecil H. and Ida M. Green Chair in Marine Sciences (1994-2007) followed by the Cecil H. and Ida M. Green Distinguished Chair in Neuroscience upon his retirement.\n\nResearch \n\nWillis focused much of his research on pain. He was an honorary member and councilor of the International Association for the Study of Pain (IASP). He studied how pain travels through the body to the brain in carrying out research on how the neurons in your brain react when presented with a stimulus. Together with his research team, he used certain diseases to study pain like chronic pancreatitis, finding that it had to do with the number of mast cells.\n\nPublications \nThroughout Willis' life he published 311 journal articles, 103 books and symposium chapters, and contributed to 12 textbooks. All of this was with the help of the National Institutes of Health who funded his research career.\n\nAwards and honors \n From 1986-1994 he held the title of Ashbel Smith Professor.\n From 1994-2007 he held the title of Cecil H. and Ida M. Green Chair in Marine Sciences.\n When Willis died he was holding the title of Cecil H. and Ida M. Green Distinguished Chair in Marine Sciences. \n He was named president of organizations such as the Society of Neuroscience (1984-1985), The American Pain Society and Cajal Club.\n Willis was also the editor-in-chief for two science journals and was also on the editorial board for ten other science journals.\n\nLegacy \nWillis was one of the pioneers in studying pain processing in the neural pathways. Most of the information known about the spinothalamic pathway is from the work of Willis. Willis was mentored by Sir John Carew Eccles at Australian National University.\n\nReferences \n\nAmerican neuroscientists\nTexas A&M University alumni\nUniversity of Texas Southwestern Medical Center alumni\nAustralian National University alumni",
"Maria Fitzgerald FRS is a professor in the Department of Neuroscience at University College London.\n\nEarly life and education\nMaria Fitzgerald was born in Hampstead, London. Her mother, was Booker Prize winning novelist, Penelope Fitzgerald author of the Blue Flower. Her father, Desmond Fitzgerald was a Major in the Irish Guards. Her older brother, Edmund Valpy Fitzgerald, is an Emeritus Professor in the Oxford Department of International Development. Maria was educated at Godolphin and Latymer School and Lady Margaret Hall, Oxford where she studied Physiology. She was awarded a Bachelor of Arts degree in 1975 from the University of Oxford. She trained in pain physiology and neuroscience with Bruce Lynn and Patrick David Wall at University College London where she was awarded a PhD in 1978. Maria was awarded her first research grant from the Medical Research Council in 1981 and her research has been continuously supported by the MRC ever since. She was awarded a 'new blood lectureship' in the Department of Anatomy at UCL in 1984 and is now a Professor of Developmental Neurobiology in the UCL Department of Neuroscience, Physiology & Pharmacology, and a member of UCL Neuroscience.\n\nResearch and career\nFitzgerald studies the developmental physiology and neurobiology of nociceptor circuits in the brain and spinal cord. Her work has had a major impact on our understanding of how pain perception emerges in early life and how early pain experience can shape pain sensitivity for life (https://www.ucl.ac.uk/biosciences/people/fitzgerald-maria). Fitzgerald's research has changed clinical perception by showing that pain in infancy requires appropriate measurement and treatment and that it should be tailored to the developmental stage of the child.\n\nAwards and honours\nIn recognition of her work Fitzgerald was awarded the Jeffrey Lawson Award for Advocacy in Children's Pain Relief from the American Pain Society, in 2011, the first basic scientist to have received this award. In 2013 she was elected to the Faculty of Pain Medicine of the for sustained and significant contributions to pain medicine. She was elected a Fellow of the Academy of Medical Sciences (FMedSci) in 2000 and a Fellow of the Royal Society (FRS) in 2016. She has been awarded Honorary Membership of the International Association for the Study of Pain (IASP), the British Pain Society, the International Society for Pediatric Pain (ISPP) and the Physiological Society \nA podcast describing her research career is available on the Pain Research Forum\n\nReferences\n\nAlumni of Lady Margaret Hall, Oxford\nAlumni of University College London\nFemale Fellows of the Royal Society\nFellows of the Royal Society\nLiving people\nPeople educated at Godolphin and Latymer School\nBritish neuroscientists\nBritish women neuroscientists\n1953 births\nWomen physiologists"
]
|
[
"Sam Thompson",
"1896-98 seasons",
"What happened with the 1896-98 seasons?",
"At age 36, Thompson played his last full season of professional baseball in 1896.",
"What was the reason he played his last season?",
"His average dipped to .298, but he still managed to collect 100 RBIs.",
"What happened after his last season?",
"In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games.",
"Was he hospitalized?",
"I don't know.",
"How long was he in pain?",
"May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a \"combination of homesickness and chronic back pain."
]
| C_d7b556395dbc4ddb9287757223433c41_1 | Are there any more aspects of this article? | 6 | Are there any more aspects of the Sam Thompson article? | Sam Thompson | At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record. In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record. Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire. CANNOTANSWER | Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire. | Samuel Luther "Big Sam" Thompson (March 5, 1860 – November 7, 1922) was an American professional baseball player from 1884 to 1898 and with a brief comeback in 1906. At , the Indiana native was one of the larger players of his day and was known for his prominent handlebar mustache. He played as a right fielder in Major League Baseball for the Detroit Wolverines (1885–1888), Philadelphia Phillies (1889–1898) and Detroit Tigers (1906). He was inducted into the Baseball Hall of Fame in 1974.
Thompson had a .331 career batting average and was one of the most prolific run producers in baseball history. His career run batted in (RBI) to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history. In 1895, Thompson averaged 1.44 RBIs per game, and his 166 RBIs in 1887 (in only 127 games) remained the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies. Manager Bill Watkins in 1922 called Thompson "the greatest natural hitter of all time."
Defensively, Thompson was known to have one of the strongest arms of any outfielder in the early decades of the game. He still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson also had good speed on the base paths and, in 1889, he became the first major league player to reach 20 home runs and 20 stolen bases in the same season.
Early years
Thompson was born in Danville, Indiana, in 1860. He was the fifth of eleven children born to Jesse and Rebecca Thompson. He was educated at the Danville Graded School. After reaching adulthood, Thompson became employed as a carpenter in Danville. He and five of his brothers also played on a local baseball team known as the Danville Browns.
Baseball career
Evansville and Indianapolis
In July 1884, Thompson began his professional baseball career at age 24, playing for the Evansville, Indiana, team in the Northwestern League. A scout for Evansville travelled to Danville and was referred to "Big Sam", who was working on a roof in Stinesville. Thompson was initially reluctant to give up his carpentry career and travel 150 miles to Evansville, but he ultimately agreed to give it a try. Unfortunately, the league folded in early August 1884, after only five games. In five games at Evansville, Thompson compiled a .391 batting average.
Thompson signed with the Indianapolis Hoosiers of the newly formed Western League in 1885. He compiled a .321 average in 30 games with the Hoosiers. He was approached by a Union Association team and offered more money, but in a show of "steadfastness to his word", Thompson refused the offer and remained with Indianapolis at a pay of $100 per month. The Hoosiers were the dominant team in the Western League, compiling an .880 winning percentage.
Detroit Wolverines
Signing
In mid June 1885, the Western League disbanded, and a mad rush developed to sign the players on the Indianapolis roster, a line-up that included Thompson, Deacon McGuire, Sam Crane, Chub Collins, Jim Donnelly, Mox McQuery, Gene Moriarty, and Dan Casey.
Thompson later told the colorful story of his acquisition by Detroit. Detroit sent two representatives (Marsh and Maloney) to Indianapolis, principally to sign the Hoosiers' battery of Larry McKeon and Jim Keenan. The Wolverines were outbid by the Cincinnati Reds for McKeon and Keenan but wound up with the Hoosiers' manager (Bill Watkins) and the rest of the team's starting lineup. The only catch was that a 10-day waiting period would allow other teams to outbid Detroit. Marsh and Maloney promptly sent the players to Detroit and quartered them in a hotel there. The next morning, the players were told that the team had arranged a fishing trip for them. The players boarded the steamship Annette and enjoyed the first day and night of successful fishing. After three days, the players became suspicious, but the ship captain laughed when asked when they would return to Detroit. As the players became mutinous on the sixth day, the captain admitted he had been ordered to keep them "out at sea" for 10 days. In another account, Thompson described his 10 days aboard the Annette as follows: "We were prisoners, but well cared-for prisoners. Anything in the line of creature comforts you could find packed away on ice. We lived on the best in the market, and spent the rest of the time in fishing and playing poker, chips having very thoughtfully been provided. On the night of the tenth day, at midnight, we were all taken ashore where Watkins met us and signed us to our contracts."
The players were only later presented with their accumulated mail which included scores of offers from other clubs. A writer in the Detroit Free Press later noted: "Detroit magnates showed some inside baseball brains and great finessing in sending the players away from all tempters for that period when they belonged to no club."
Regardless of the trickery by Detroit, Thompson considered Detroit to be a mecca. He recalled his first time in 1885 viewing Woodward Avenue with Indianapolis teammate Mox McQuery. They gazed with "open-mouth amazement" at the "wondrous pavements", having never seen a street as "clean and smooth as a table."
1885 and 1886 seasons
Thompson joined the Wolverines lineup in early July. In his first plate appearance, he had a hit off New York Giants' Hall of Fame pitcher Tim Keefe. The Wolverines were in last place when Thompson joined the club, but won 12 of their first 13 games after Thompson took over in right field. Thompson compiled a .303 batting average in 63 games. Despite playing only the second half of his rookie season, Thompson ranked among the National League leaders with seven home runs (third most in the league) and nine triples (10th most in the league). Displaying a strong arm that would be one of the main features of his defensive game, Thompson also ranked fifth in the league with 24 outfield assists in only 63 games.
In 1886, team owner Frederick K. Stearns made a big splash when he purchased the Buffalo infield that had become known as the "Big Four", consisting of Dan Brouthers, Hardy Richardson, Jack Rowe, and Deacon White. In addition, Detroit pitcher Lady Baldwin won 42 games in 1886, a major league record for a left-handed pitcher. The 1886 season was Thompson's first full season in the majors. Thompson made a major contribution to the 1886 club as well, compiling a .310 batting average with 101 runs scored, 13 triples, and eight home runs in 122 games. His 89 runs batted in (RBIs) ranked third in the National League. His defensive statistics continued to impress as well. He led the league with 11 double plays from the outfield, ranked second with a .945 fielding percentage, and was fourth in the league with 194 outfield putouts. The 1886 Wolverines compiled an impressive 87–36 record (.707 winning percentage), but lost the National League pennant, finishing 2½ games behind the Chicago White Stockings.
1887 season
Thompson had his breakout season in 1887 when he won the National League batting crown with .372 batting average, and he set a major league record with 166 RBIs. Thompson also led the league in hits (203), triples (23), slugging percentage (.565), total bases (308), and at bats (545). On May 7, 1887, Thompson became the first player in major league history to hit two triples with the bases loaded in the same game. The 1887 Detroit Wolverines featured four future Hall of Fame inductees (Thompson, Dan Brouthers, Deacon White, and Ned Hanlon) and won the National League pennant with a 79-45 record. The Wolverines then went on to defeat the St. Louis Browns of the American Association in a 15-game World Series challenge. Thompson played in all 15 games of the World Series and led all hitters with a .362 average, two home runs, seven RBIs and a .621 slugging percentage.
1888 season
During the 1888 season, Thompson was sidelined with a sore arm during most of the season and appeared in only 56 games. His batting average declined by 90 points to .282, and the fortunes of the entire 1888 Detroit team followed suit. The team finished in fifth place with a 68-63 record. With high salaries owed to the team's star players, and gate receipts declining markedly, the team folded in October 1888 season with the players being sold to other teams.
Philadelphia Phillies
1889–1892
On October 16, 1888, Thompson was purchased from the Wolverines by the Philadelphia Quakers (known as the Philadelphia Phillies beginning in 1890), for $5,000 cash (equal to $ today).
In his first season with Philadelphia, Thompson hit .296 and led the National League with a career-high 20 home runs. He also became the first major league player to reach 20 home runs and 20 stolen bases (Thompson stole 24 bases) in the same season. Thompson improved his batting average to .313 in 1890 and led the league in both hits (172) and doubles (41). Thompson's batting average dipped slightly below .300 in 1891 (.294) but bounced back in 1892 to .305. In each of his first four seasons with the Phillies, Thompson finished among the league leaders in total bases and RBIs. He ranked third in total bases in 1889 (262), 1890 (243), and 1893 (263), second in RBIs in 1892 (104), and third in RBIs in 1890 (102). He also tallied a career-high 32 outfield assists to lead the National League in 1891. (It has been suggested that Thompson's assist and home run totals in Philadelphia were aided by the short 300-foot right field fence at the Huntingdon Street Grounds.) The Phillies were a good, but not great team, during Thompson's first four years in Philadelphia, finishing in fourth place in 1889, 1891 and 1892, and in third place in 1890.
1893–1895
From 1893 to 1895, Thompson hit his stride with the Phillies. During those three years, he hit .390 and averaged 207 hits, 125 runs, 146 RBIs, 21 triples, and 24 stolen bases. And he compiled those numbers while striking out an average of only 14 times per season. Despite Thompson's contributions, the Phillies were unable to compete for the National League pennant, finishing in fourth place in 1893 and 1894 and in third place in 1895.
Thompson's 1893 totals included a league-leading 222 hits and 37 doubles. After the 1893 season, Thompson vowed not to return to Philadelphia in protest over the owners' penny-pinching ways and the team's inability to compete for a pennant. In October 1893, Thompson announced: "I shall not play again in Philadelphia, and I told Harry Wright it would be a waste of time for him to write to me about signing. The cheese-paring methods of the management ... have been the causes leading to my resolution. ... The management [has] made a barrel of money, but they grind the players into the dirt." Thompson finally agreed in March 1894 to return to the Phillies, but only after management agreed to improve travel accommodations.
In 1894, Thompson was part of the only all-.400-hitting outfield of all-time. All four Philadelphia outfielders ended the season with a batting average better than .400 (Tuck Turner at .416, Thompson and Ed Delahanty at .407, and Billy Hamilton at .404). Thompson missed a month from the 1894 season with an injury to the little finger on his left hand. Doctors determined that the smaller bones in the finger were dead, and portions of the finger were surgically removed in mid-May 1894. Despite the injury and partial amputation, and being limited to only 102 games, Thompson compiled a .407 batting average with a career-high 28 triples and a league-leading 147 RBIs. His 1894 ratio of 1.44 RBIs per game remains the all-time major league record. Also, his 28 triples was the second highest total in major league history up to that time and remains the fifth highest of all time. Thompson also led the National League with a career-high .696 slugging percentage, and he hit for the cycle on August 17, 1894.
In 1895, Thompson compiled a .392 batting average with 211 hits in 119 games and led the National League in slugging percentage (.654), total bases (352), extra base hits (84), home runs (18), and RBIs (165). His average of 1.39 RBIs per game in 1895 remains second in major league history—trailing Thompson's 1.44 ratio in 1894. Thompson also continued to perform well defensively with 31 outfield assists, second most in the league. From June 11 to 21, Thompson had 6 consecutive games with at least 3 or more hits. Since then, only Jimmy Johnston (June 24–30, 1923) and George Brett (May 8–13, 1976) had 6 straight games with at least 3 or more hits.
1896–1898
At age 36, Thompson played his last full season of professional baseball in 1896. His average dipped to .298, but he still managed to collect 100 RBIs. Thompson's throwing remained strong as he turned in one of the finest defensive performances of his career. Despite appearing in only 119 games in the outfield, he led the league in outfield fielding percentage (.974), outfield assists (28), and double plays from the outfield (11). One sports writer noted that, even at age 38, Thompson "possessed an arm that the fastest sprinters in the big league had a lot of respect for." As a team, however, the Phillies fell to eighth place in the National League with a 62-68 record.
In 1897, at age 37, Thompson was sidelined by pain and appeared in only three games. Some accounts suggest that Thompson's absence from the lineup may have also been the result of his not getting along with Philadelphia's new manager George Stallings. Without Thompson, the 1897 Phillies dropped to 10th place with a 55-77 record.
Before the 1898 season began, Thompson gave an interview in which he questioned the Phillies chances to compete in 1898: "What are the Phillies' chances this season? Six clubs, Cincinnati Baltimore, Boston, New York, Cleveland and Brooklyn are bound to beat them, and they will have to fight hard to lead the second division, and I very much doubt if they can do that." Though his loyalty to the Phillies was questioned, Thompson did return in 1898 and was batting .349 with 15 RBIs, five doubles, three triples, a home run after 14 games. However, Thompson opted to leave the team in May 1898 and return to his home in Detroit. His sudden retirement has been attributed to a "combination of homesickness and chronic back pain." Other accounts indicate that continued tension with manager Stallings contributed to Thompson's decision to retire.
Detroit Tigers
Late in the 1906 baseball season, Thompson briefly returned to the major leagues as a player for the Detroit Tigers. With starting outfielders Ty Cobb and Davy Jones out of the Tigers lineup with injuries, Thompson volunteered to fill in. At age 46, Thompson had remained active, playing baseball for the Detroit Athletic Club and other local teams. Accordingly, in late August and early September 1906, he took his old place in right field for Detroit. Thompson's return to baseball led to an increase in attendance, as "the stands and bleachers were full of special Thompson delegations." After getting a hit and two RBIs in his first game, he totaled seven hits, four runs, three RBIs and a triple in eight games with the Tigers. At age 46, he became, and remains, the oldest player to hit a triple in the major leagues. Detroit sports writer Paul H. Bruske noted that Thompson was still able to throw the ball from deep right field to the plate "on a line" and that he still had "a lot of speed on the bases."
Career statistics and legacy
In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974.
Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies.
Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."
In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford.
Family and later years
Thompson was married in 1888 to Ida Morasha of Detroit. They had no children and made their home in Detroit until Thompson's death. After retiring from baseball, Thompson invested in real estate and was financially comfortable in his later years. He was appointed a U.S. Deputy Marshall during World War I and also worked as the crier in the courtroom of U.S. District Court Judge Arthur J. Tuttle. He was "well known" and a "well liked" figure at the federal building in Detroit.
Thompson died in 1922 at age 62. He had a heart attack while serving as an election inspector on November 7 and was stricken again later in the morning after being taken to his home located at 6468 Trumbull Avenue in Detroit. Upon learning of Thompson's death, his former Detroit manager Bill Watkins recalled Thompson as "not only a great baseball player, but as one of the finest gentlemen I ever knew." At Thompson's funeral, "Michigan's foremost citizens – state and city officials, judges, bankers, doctors, millionaires, laborers – paid homage ... to their beloved friend", and the neighborhood in which Thompson lived "was packed with expensive automobiles and their liveried chauffeurs" as workmen and wealthy men "discussed their favorite player with an unusual spirit of camaraderie." Thompson was interred at the historic Elmwood Cemetery in Detroit. He was posthumously inducted into the Baseball Hall of Fame in 1974.
See also
1887 Detroit Wolverines season
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career triples leaders
List of Major League Baseball batting champions
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball annual doubles leaders
List of Major League Baseball annual triples leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game hits leaders
References
External links
1860 births
1922 deaths
People from Danville, Indiana
Baseball players from Indiana
Burials at Elmwood Cemetery (Detroit, Michigan)
National Baseball Hall of Fame inductees
Major League Baseball right fielders
19th-century baseball players
Detroit Wolverines players
Philadelphia Quakers players
Philadelphia Phillies players
Detroit Tigers players
National League batting champions
National League home run champions
National League RBI champions
Evansville (minor league baseball) players
Indianapolis Hoosiers (minor league) players | true | [
"The Pelé law is a Brazilian law that forces professional sports clubs to observe business law and pay tax within two years.\n\nIntroduction\nOn March 24, 1998, Law N. 9.615/98 stipulates that by 2001, clubs can sign a maximum five-year contract with a player when they turns 16 and stand to receive only a \"penalty fee\" of up to 100 times their monthly wage if they leaves before then. If a player fulfills the contract without renewing then they can leave and join a new club as a free agent. The previous club receives no transfer fee or compensation in this transaction with the player's new club.\n\nThe introduction of Pelé law also permits the formation of independent leagues by sports clubs across Brazil, which was a notion not previously allowed under the governance of the Brazilian Football Confederation.\n\nThe original aspects of Pelé law\n\nAs referred to above, Pelé law regulates all aspects of sports in Brazil. This law embraces general rules about Brazilian sports law, regardless of the sports modality in question.\n\nDue to its comprehensive nature we will restrict our analysis to the most controversial aspects. We will not discuss some aspects of Pelé law, such as disciplinary codes, Brazilian internal sports organization, sports courts composing, gambling regulations and other.\n\nThis analysis includes the following aspects: \n(i) establishment of leagues; \n(ii) establishment of for profit sports enterprise organizations; \n(iii) labor contracts rules; \n(iv) Arena; and \n(v) insurance policies for athletes.\n\nEstablishment of leagues\nArticle 20 of Pelé law and its 5 subsections regulate the establishment of leagues. The caput of this article allows clubs that take part in any national or regional competition and are members of the Brazilian National Sports System to found leagues.\n\nThese leagues will be private legal entities, and may, among other issues, negotiate on behalf of their members, sponsorship agreements, advertising and broadcasting contracts.\n\nThe establishment of leagues must be notified to the national sports administration entities (“NSAE”) such as federations and confederations and such leagues are totally independent from the NSAE. Since the leagues are independent from the referred to entities, these are not allowed to interfere with the league private matters. Affiliation with a league does not imply in disaffiliation of the NSAE board. The club may participate in competitions organized by both entities, without legal restriction.\n\nArising form such legal permission, from 2001 football clubs started to organize themselves in leagues, which lead to the weakening of “CBF” (Brazilian Football Confederation) political power, for that body would no longer organize the Brazilian football championship, being left to organize solely the Brazil Cup, and being responsible for the national team.\n\nHowever, aiming to avoid confrontation with CBF, and consequently with FIFA, as well as avoiding the possibility of being forbidden to take part in the Copa Libertadores, the teams taking part in the Brazilian Professional Football League agreed that the Brazilian Championship in 2002 will be organized and promoted by the League jointly with CBF.\n\nEstablishment of for-profit sports enterprise organizations\nAccording to articles 27 and 27A in Pelé law, any club – be it of football or not – has the right to shift into a corporation, such change not being mandatory. Differing from Spain and Portugal, there is no specific modality of a company destined exclusively to sports clubs in Brazil. There is no such a legal entity as called a \"sports joint stock company\".\n\nIn case a club should have the interest in a total change - or a change specifically in its football or volleyball department - into a corporation, the model adopted could be any of those as foreseen by law. That is, on deciding to change into a corporation, the club can make an option for a Stock Company, a Limited Liability Company, a Foundation, among other.\n\nFollowing the established in FIFA Statute (article 7, N.5), taking into consideration the ENIC case, and aiming to reassure the \"incertitude sportive\", Law N. 9.981/00 has imposed a veto to any simultaneous participation of an individual or a corporation in the capital stock of two or more clubs disputing the same professional competition.\n\nSuch veto also embraces the joint ownership investments, indirect capital participation, and relatives ownership in sports clubs. The sponsorship in shirts and the administration of trademark and sports events (\"stadiums\") exploitation are counted out of this veto.\n\nWeird as it can be, that same article brings the prohibition of companies granted with the exploitation of radio and television services, be it open television or cable, to sponsor any sports club.\n\nProfessional athlete's labor contract\nArticle 28 of Pelé law stipulates the most relevant aspects of the professional athlete's labor contract (PALC), that are:\n\n all labor contracts must be written and co-signed by athlete and a club, or a club enterprise;\n have a specific and determinate term;\n payment for the service must be clearly stated in the contract; and \n penalty clause in cases of defaulting, breaching of contract and unilateral rescission of the contract.\n\nThe absence of any of above mentioned aspects will nullify the contract. A valid contract is formed only if both parties intend the act of signing to be the last act in the formation of a binding contract.\n\nThe requirement of a written contract implies that the athlete must be able to understand its terms and sign his or her name and also to avoid discussions about the existence of labor relation between the club and athlete.\n\nThe parties in a PALC must be an athlete and a club or a sports enterprise. This provision intends to hinder the action of agents. However, the law does not prohibit the ownership of a club by an agent.\n\nThe term of a PALC must be clearly stated in the contract, and pursuant to Article 30 of Pelé law the minimum term of a PALC is 3 (three) months and a maximum is 5 (five) years. However, a PALC may have its terms suspended if the athlete becomes unable to exercise his activity due to an occupational accident or disease, suffered in the club or while defending any team selection.\n\nArticle 31 of Pelé law provides that if the club has not effected partially or totally the payment for the services for 3 (three) consecutive months, the PALC can be rescinded by the athlete without the latter incurring in any fine. Moreover, pursuant article 32 of Pelé law, if the mentioned partial or total late payment lasts 2 (two) or more months, the athlete is allowed to stop playing for his team.\n\nIn case the athlete is asked to integrate the national or regional team, pursuant to article 41, the NSAE responsible for the national team shall be liable for the payment of the wages of the athletes for the services during the period that he/she will be under NSAE disposal.\n\nThe payment encompasses not only wages but also gratification, bonuses, benefits and reserves. Two other forms of payment may be included in the contract. These are known as (i) \"bicho\" and (ii) Arena. The Arena will be explained later.\n\n\"Bicho\" is a money prize paid by the club to an athlete according to the team's performance, such as winning a championship, winning or drawing a match, qualifying to other championship phases, among others. The \"bicho\" may be established in the contract, but this is not usual.\n\nParagraph #2 of article 28 is one of the most controversial aspects of the Pelé law, once it has abolished the \"passe\". \"Passe\" was a legal determination that an athlete remains \"tied\" to the club even after the termination of a labor contract. Therefore, a tie-release amount was due to the club by another club if the latter wished to offer the athlete a new labor contract. Pursuant article 93 of Pelé law, the abolishment of \"passe\" only took effectiveness on March 24, 2001.\n\nAfter the extinction of the \"passe\", what will keep the athlete bound to a football club is his labor contract, and at the final term of this the athlete will be free to change teams without payment of any indemnification whatsoever to his former club.\n\nHowever, in case the athlete wishes to change clubs during the effectiveness of his contract, or in case the club wishes to release the athlete during the contract effectiveness, the payment of penalty for rescission shall be due, according to the contract provisions for such events.\n\nAccording to paragraph 3 of article 38 in Pelé law, the amount of the penalty clause is freely established by the parties entering the contract, but shall be limited to 100 times the annual remuneration agreed to. Paragraph 4 of that same article establishes an automatic annual reduction on the penalty clause. On the first year of the accomplished contract, the penalty clause shall have a reduction of 10%; on the second year, the reduction shall be of 20%; on the third year, 40%; and on the fourth year, 80%.\n\nIt is important to note that according to Pelé law, the limit of the penalty clause and the referred to reductions will only be applicable in the transfers between Brazilian clubs. When such transfer occurs to foreign clubs, the amount of the penalty clause is of free stipulation.\n\nThere are two more exceptions to the amount of the penalty clause, being both of them only applicable in the event of the club having formed the player from its base categories:\n\nIn this case, the maximum amount for the penalty clause, in the rescission of a labor contract during its effectiveness, is no longer of 100 times the annual remuneration, but increases to 200 times such value; and\nIf at the end of the labor contract, for the period of 6 months as counted from the end of the contract, and provided the club continues paying that athlete's wages, the amount for the penalty clause can be up to 150 times the contracted annual remuneration.\n\nArena (broadcast rights)\nArena is a right that the club has due to the use of its image during a match. The club has the right to negotiate the broadcasting of its matches and participation on championships as established in the caput of article 42 of Pelé law. However, pursuant to paragraph # 1 of the same article, 20% (twenty per cent) of the income related to the broadcasting of the matches must be equally distributed to all Athletes of the team.\n\nThe amounts received as transfer of the broadcasting rights are not considered wages, therefore they cannot be used as basis for calculation of the penalty clause established in article 28 of Pelé law as explained above.\n\nInsurance policies for athletes\nArticle 45 of Pelé law obliges the club to insure all its Athletes. The relevant insurance policies must cover personal and occupational accidents. Pelé law provides that the indemnity must correspond to the negotiated annual wages of the athlete.\n\nModifications to the law\nBy Oct 2002, for being a controversial law, given it changed drastically the football culture in Brazil, Pelé law has been suffering mutilations since its promulgation. In less than 4 years of being in force, that law has already been through 3 major alterations, most of them based financial and political interests, never sports ones. For a better understanding of the magnitude of such mutilations, only 58% of the original text remains.\n\nReferences\n\n General Aspects of Brazilian Sports Law and Its Daily Applicability Written 2002 by Luiz Roberto Martins Castro\n\nTaxation in Brazil\nSports law\n2001 in Brazilian football\n2001 in Brazil\nPelé",
"The Founder's Pie Calculator is a tool for distributing shares when starting a business venture. It was first described in an article by Frank Demmler, who is an Adjunct Teaching Professor of Entrepreneurship at Carnegie Mellon University.\n\nIn contrast to popular notion, the shares are not distributed equally (because \"it's fair\") but using a system of 5 important aspects of any business venture, assigning a relative weight to them and then rating the founders in each of these aspects.\n\nReferences \n\nDecision analysis\nEntrepreneurship"
]
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[
"Jamie Foxx",
"2003-2006: Ray, Unpredictable, and Dreamgirls"
]
| C_c99997ffaaf64589b792e7b53ed56f3c_1 | What is Ray? | 1 | What is Ray by Jamie Foxx? | Jamie Foxx | In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached #1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to #1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind". Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the second male in history to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray (the only other male actor to achieve this feat being Al Pacino). In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences. Foxx released his second studio album, Unpredictable, in December 2005. It debuted at #2, selling 598,000 copies in its first week, rising to #1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at #9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a #1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video. At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris. Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood. CANNOTANSWER | ". Foxx would also portray Ray Charles in the biographical film Ray (2004), | Eric Marlon Bishop (born December 13, 1967), known professionally as Jamie Foxx, is an American actor, comedian, and singer. In 1991 he joined the cast as a featured player in the sketch comedy show In Living Color until the show's end in 1994. Following this success, Foxx was given his own television sitcom The Jamie Foxx Show, in which he starred, co-created and produced, airing for five highly rated seasons from 1996 to 2001 on The WB Television Network.
He subsequently became widely known for his portrayal of Ray Charles in the 2004 biographical film Ray, for which he won the Academy Award, BAFTA, Screen Actors Guild Award, Critics' Choice Movie Award and Golden Globe Award for Best Actor in a Leading Role, becoming the second actor to win all five major lead actor awards for the same performance. That same year, Foxx was nominated for the Academy Award for Best Supporting Actor for his role in the crime film Collateral. Since spring 2017, Foxx has served as the host and executive producer of the Fox game show Beat Shazam.
Other acting roles include Staff Sergeant Sykes in Jarhead (2005), record executive Curtis Taylor Jr. in Dreamgirls (2006), Detective Ricardo Tubbs in the 2006 film adaptation of TV series Miami Vice, Django Freeman in the film Django Unchained (2012), the supervillain Electro in The Amazing Spider-Man 2 (2014) and Marvel Studios' Spider-Man: No Way Home (2021), Will Stacks in Annie (2014), gangster Leon "Bats" Jefferson III in Baby Driver (2017) and as Walter McMillian in Just Mercy (2019), where he received a SAG Award nomination.
Foxx is also a Grammy Award-winning musician, producing four albums, which have charted in the top ten of the U.S. Billboard 200: Unpredictable (2005), which topped the chart, Intuition (2008), Best Night of My Life (2010), and Hollywood: A Story of a Dozen Roses (2015).
Early life and education
Eric Marlon Bishop was born on December 13, 1967, in Terrell, Texas. He is the son of Darrell Bishop (renamed Shahid Abdula following his conversion to Islam), who sometimes worked as a stockbroker, and Louise Annette Talley Dixon. Shortly after his birth, Foxx was adopted and raised by his mother's adoptive parents, Estelle Marie (Nelson), a domestic worker and nursery operator, and Mark Talley, a yard worker. He has had little contact with his birth parents, who were not part of his upbringing. Foxx was raised in the black quarter of Terrell, which at the time was a racially segregated community. He has often acknowledged his grandmother's influence in his life as one of the greatest reasons for his success.
Foxx began playing the piano when he was five years old. He had a strict Baptist upbringing, and as a teenager he was a part-time pianist and choir leader in Terrell's New Hope Baptist Church. His natural talent for telling jokes was already in evidence as a third grader, when his teacher would use him as a reward: if the class behaved well, Foxx would tell them jokes. Foxx attended Terrell High School, where he received top grades and played basketball and football (as quarterback). His ambition was to play for the Dallas Cowboys, and he was the first player in the school's history to pass for more than 1,000 yards. He also sang in a band called Leather and Lace. After completing high school, Foxx received a scholarship to United States International University, where he studied musical and performing arts composition.
Career
1989–2003: Beginnings and acting debut
Foxx first told jokes at a comedy club's open mic night in 1989, after accepting a girlfriend's dare. When he found that female comedians were often called first to perform, he changed his name to Jamie Foxx, feeling that it was a name ambiguous enough to disallow any biases. He chose his surname as a tribute to the black comedian Redd Foxx. Foxx joined the cast of In Living Color in 1991, where his recurrent character Wanda also shared a name with Redd's friend and co-worker, LaWanda Page. Following a recurring role in the comedy-drama sitcom Roc, Foxx went on to star in his own sitcom The Jamie Foxx Show, from 1996 to 2001, and he also produced through his company Foxx Hole Productions.
Foxx made his film debut in the 1992 comedy Toys. His first dramatic role came in Oliver Stone's 1999 film Any Given Sunday, where he was cast as a hard-partying quarterback, partly because of his own football background. During filming, Foxx fought with costar LL Cool J.
In 2001, Foxx starred opposite Will Smith in Michael Mann's biographical drama Ali. Three years later, Foxx played taxi driver Max Durocher in the Mann film Collateral alongside Tom Cruise, for which he received outstanding reviews and a nomination for the Academy Award for Best Supporting Actor.
In 1994, Foxx released an album (on the Fox record label) entitled Peep This, which was not commercially successful. In 2003, Foxx made a cameo in Benzino's music video for "Would You", which features LisaRaye McCoy and Mario Winans.
2003–2006: Ray, Unpredictable, and Dreamgirls
In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached No. 1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to No. 1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind".
Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the third male in history (after Barry Fitzgerald and Al Pacino) to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray. In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences.
Foxx released his second studio album, Unpredictable, in December 2005. It debuted at No. 2, selling 598,000 copies in its first week, rising to No. 1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at No. 9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a No. 1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video.
At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris.
Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood.
2007–2009: Intuition
2007 brought him the lead role in the action thriller film The Kingdom opposite Chris Cooper, Jason Bateman, Jennifer Garner and Ashraf Barhom. In September 2007, Foxx was awarded a star on the Hollywood Walk of Fame: "[it was] one of the most amazing days of my life," said Foxx. In April 2009, Foxx played the lead role in the dramatic film The Soloist. A few months later in October 2009, he played a starring role alongside Gerard Butler in the thriller Law Abiding Citizen. In 2007, his company FoxxKing Entertainment signed deals with MTV and VH1.
Foxx released his third album titled Intuition in 2008, featuring Kanye West, T.I., Ne-Yo, Lil' Kim and T-Pain. The album's first single, "Just Like Me" featuring T.I., was promoted by a video directed by Brett Ratner which featured an appearance by actress Taraji P. Henson. The second single "Blame It" featured T-Pain and became a top 5 single on the Billboard Hot 100 and a number-one single on the Billboard Hot R&B/Hip-Hop Songs chart. The "Blame It" music video, directed by Hype Williams, features cameo appearances by Forest Whitaker, Samuel L. Jackson, Ron Howard, Quincy Jones and his Jarhead co-star Jake Gyllenhaal, amongst others.
Foxx's musical career has also included a number of collaborations. In 2007, he recorded the song "She Goes All the Way" with country superstars Rascal Flatts for their Still Feels Good album. Foxx performed backing vocals for artist/songwriter Tank. He featured alongside The-Dream on Plies' "Please Excuse My Hands." He also appeared alongside Fabolous on the remix of Ne-Yo's "Miss Independent". Foxx collaborated with rapper The Game on the track "Around the World". Foxx also featured on T.I.'s single "Live in the Sky" from the album King.
On January 22, 2007, Foxx launched The Foxxhole, a channel on Sirius Satellite Radio featuring talk-radio programs, stand-up comedy albums and music primarily by African-American performers, as well as much of Foxx's own material. Foxx's own talk-radio variety program The Jamie Foxx Show airs Friday evenings on The Foxxhole with guests including musicians, actors and fellow comedians; co-hosts have included Johnny Mack, Speedy, Claudia Jordan, The Poetess, Lewis Dix, Yvette Wilson, T.D.P and Tyrin Turner. On the April 17, 2009 episode of The Jamie Foxx Show, Foxx and his co-hosts made several sexually suggestive and disparaging jokes regarding the teenage singer Miley Cyrus. Several days later Foxx issued a public apology on The Tonight Show with Jay Leno in response to growing public outcry and televised criticism by Cyrus's father, country singer Billy Ray Cyrus.
On April 6, 2009, Foxx, a longtime fan of country music, performed the George Strait song "You Look So Good in Love" at the George Strait Artist of the Decade All-Star Concert. Jamie Foxx hosted the 2009 BET Awards ceremony on June 28, 2009, which featured several tributes to pop star Michael Jackson, who had died three days prior to the show. As well as performing "Blame It" with T-Pain and "She Got Her Own" with Ne-Yo and Fabolous, Foxx opened the show with a rendition of Jackson's "Beat It" dance routine and closed the show with a cover of The Jackson 5's "I'll Be There" with Ne-Yo. "We want to celebrate this black man. He belongs to us and we shared him with everybody else.", said Foxx during the ceremony.
2010–2012: Best Night of My Life and Django Unchained
In April 2011, Foxx voiced the cartoon canary Nico in the movie Rio. During the summer of 2011, Foxx was involved as a producer of In the Flow with Affion Crockett on Fox.
Foxx released his fourth album, Best Night of My Life, on December 21, 2010, featuring the singles "Winner" (featuring Justin Timberlake and T.I.), "Living Better Now" (featuring rapper Rick Ross) and "Fall for Your Type" (featuring rapper Drake). On October 7, the RCA Music Group announced that it was disbanding J Records along with Arista Records and Jive Records, meaning that all artists (including Foxx) previously signed to the three labels will release their future material on the RCA Records brand. In 2011, Jamie Foxx also featured on the rapper Pitbull's album Planet Pit, in the song "Where Do We Go".
In 2012, Foxx starred in the title role of the Quentin Tarantino written and directed Django Unchained. Foxx starred alongside his Ray co-star Kerry Washington, as well as Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson. In an interview about Django Unchained, Foxx told Vibe magazine: "As a black person it's always racial. ... when I get home my other homies are like how was your day? Well, I only had to be white for at least eight hours today, [or] I only had to be white for four hours." The filming was emotional as Foxx said, "It's tough shooting when you're in plantation row and that's where your ancestors were persecuted and killed."
On November 25, 2012, at BET's Soul Train Awards, Foxx joked: "It's like church in here. First of all, giving honor to God and our lord and savior Barack Obama." The joke led to condemnation from some Christians, to which Foxx responded: "I'm a comic [and] sometimes I think people get a little too tight." While hosting Saturday Night Live on December 8, 2012, to promote Django Unchained, Foxx joked about being excited "to kill all the white people in the movie". Appearing at the 2013 NAACP Image Awards, Foxx praised the achievements of black people, saying that "black people are the most talented people in the world".
2013–present: White House Down, Baby Driver, Hollywood and Project Power
In 2013, Foxx was cast as President James Sawyer in White House Down alongside Channing Tatum. The following year, Foxx appeared in The Amazing Spider-Man 2 as the villain Electro, and co-starred with Quvenzhané Wallis in Annie, Sony's Will Smith and Jay-Z produced update of the comic strip-turned-musical. In 2017, Foxx starred as Bats, a trigger-happy gang member, in Edgar Wright's action film Baby Driver.
Foxx's October 2014 Deja Vu duet with Dionne Warwick appears on the Feels So Good album released by Warwick. He released his fifth studio album, Hollywood: A Story of a Dozen Roses, on May 18, 2015. It debuted atop the Top R&B/Hip-Hop Albums charts and at No. 10 on the Billboard 200. In 2015, Foxx's voice was featured in the chorus on the Ariana Grande song, "Focus".
Since its debut in 2017, Foxx has been the host and executive producer of the Fox game show Beat Shazam, whose premise is similar to the once-popular game show format Name That Tune. On the show, three sets of two partners try to beat the software application Shazam in correctly identifying the titles of popular songs for increasingly higher amounts of money, with one team eventually vying for a potential prize of $1 million. Foxx's daughter Corinne began co-hosting the show in its second season in 2018, replacing DJ October Gonzalez. The show has aired four seasons so far.
Foxx co-executive produced the 2017 Showtime sitcom White Famous, which starred Jay Pharoah as a young aspiring African-American comic, and was based on Foxx's own early career. Foxx also occasionally appeared on the show as himself. White Famous got middling reviews and ratings, and was cancelled after one season.
On May 22, 2019, Foxx appeared as George Jefferson in Live in Front of a Studio Audience: Norman Lear's All in the Family and The Jeffersons on ABC. That year, he played wrongly convicted death row prisoner Walter McMillian in the drama film Just Mercy, for which he received significant critical acclaim.
Foxx starred in Project Power, directed by Ariel Schulman and Henry Joost, opposite Joseph Gordon-Levitt and Dominique Fishback, which was released on August 14, 2020, by Netflix.
On November 13, 2019, Foxx was cast as the voice lead in the Pixar film Soul. Soul was set to be released theatrically on June 19, 2020, but due to the COVID-19 pandemic, Disney delayed the film's release to December 25, 2020, on Disney+.
In 2020, Foxx signed an overall deal with Sony Pictures Entertainment.
Foxx co-created, executive produced and starred in the 2021 Netflix sitcom Dad Stop Embarrassing Me!, in which he played the single father of two teenage girls. The series marked Foxx's return to the sitcom format after The Jamie Foxx Show ended in 2001. The entire eight-episode series premiered April 14, 2021 on Netflix. It was cancelled after one season.
He reprised his role as Electro in Spider-Man: No Way Home (2021), set in the Marvel Cinematic Universe.
In 2021, Foxx released the memoir Act Like You Got Some Sense: And Other Things My Daughters Taught Me, which focused on his family life, both as a child and as an adult.
Upcoming projects
On May 29, 2018, Foxx was cast as Al Simmons in a planned reboot of the Spawn film franchise, to be directed by Todd McFarlane. In 2015, Foxx became attached to portray former boxer Mike Tyson in a biographical drama film Finding Mike; in 2020, he began to exercise in order to gain muscle for the role. In 2021, the project turned into a miniseries, to be directed by Antoine Fuqua.
Legal issues
In April 2003, Foxx was involved in an incident with two police officers who were attempting to escort him and his sister out of Harrah's casino in New Orleans. Employees claimed the Foxx party had failed to show identification upon entry. Originally charged with trespassing, disturbing the peace, battery on police officers and resisting arrest, Foxx pleaded no contest to disturbing the peace in exchange for the other charges being dropped, and was sentenced to a six-month suspended jail term with two years of probation and a $1,500 fine.
Personal life
Foxx has two daughters: Corinne (born 1994) and Anelise (born August 2009). Corinne made her formal debut at the Bal des débutantes in November 2014 and was named Miss Golden Globe 2016 on November 18, 2015.
In 2008, Foxx filmed a public service announcement for Do Something to promote food drives in local communities.
From 2013 to 2019, Foxx was in a relationship with actress Katie Holmes.
On January 18, 2016, Foxx rescued a young man from a burning vehicle that crashed outside his home. The driver, Brett Kyle, was driving his truck "at a high rate of speed" when the truck left the road, traveled into a drainage ditch, and rolled over several times. Kyle was arrested for driving under the influence of alcohol.
On October 26, 2020, Foxx announced via Instagram that his 36-year-old sister Deondra Dixon had died. Dixon was born with Down syndrome and had been an ambassador for the Global Down Syndrome Foundation.
Filmography
Discography
Peep This (1994)
Unpredictable (2005)
Intuition (2008)
Best Night of My Life (2010)
Hollywood: A Story of a Dozen Roses (2015)
Tours
The Unpredictable Tour (2006)
The Blame It Tour (2009)
Stand-up specials
Jamie Foxx: Straight from the Foxxhole (1993)
Jamie Foxx: I Might Need Security (2002)
Jamie Foxx Unleashed: Lost, Stolen and Leaked! (2003)
Book
Foxx, Jamie (with Nick Chiles). Act Like You Got Some Sense: And Other Things My Daughters Taught Me. 2021: Grand Central Publishing. .
Accolades
See also
List of actors with Academy Award nominations
List of actors with two or more Academy Awards in acting categories
List of actors nominated for two Academy Awards in the same year
List of black Academy Award winners and nominees
List of black Golden Globe Award winners and nominees
References
External links
1967 births
Living people
20th-century American comedians
20th-century American male actors
20th-century American singers
21st-century American comedians
21st-century American male actors
21st-century American singers
African-American game show hosts
African-American male actors
African-American male comedians
African-American male singers
American adoptees
American comedy musicians
American contemporary R&B singers
American hip hop singers
American male comedians
American male film actors
American male singers
American male television actors
American stand-up comedians
Baptists from Texas
Best Actor Academy Award winners
Best Actor BAFTA Award winners
Best Musical or Comedy Actor Golden Globe (film) winners
Comedians from Texas
Grammy Award winners
Male actors from Texas
Method actors
Outstanding Performance by a Male Actor in a Leading Role Screen Actors Guild Award winners
People from Terrell, Texas
RCA Records artists
Singers from Texas
United States International University alumni | false | [
"\"The Finale\" is the 210th episode of the CBS sitcom Everybody Loves Raymond. It is episode sixteen of season nine, and the final episode of the series. It originally aired on May 16, 2005, and was preceded by an hour-long special looking back on the whole series.\n\nSynopsis\nThe episode starts with Ray walking into the kitchen having just seen his doctor. He tells Debra that the doctor told him his adenoids have to come out. Debra tells him that it's a routine procedure and Ray is appalled at Debra's lack of concern for his well-being. Marie worriedly comes rushing in and hugs Ray, saying the doctors are \"trying to take a piece of my Raymond away.\" Ray gives Debra a hard time over the course of the next week, fretting about his upcoming surgery and asking questions such as \"What if the nurses' top button is undone and the doctor gets distracted?\" On the day of the operation, Ray goes into surgery and Debra, Robert, Amy, Frank and Marie wait in the waiting room. Robert laments how the whole world has to stop because Ray is having a routine procedure, and states that the only reason he is there is because Marie dragged him there since he is the same blood type as Raymond. The family tells jokes to lighten the mood, of which Marie disapproves; she says that she needs to go to the bathroom and when she returns everyone should have a sign of concern.\n\nA few moments after Marie leaves, a nurse enters the waiting room and asks for Debra. Debra asks how the procedure went and the nurse, after asking whether Ray had any medical conditions that he did not disclose, states that they are having trouble bringing Ray out of the anesthesia. Debra starts to cry and the rest of the family (minus Marie who is in the bathroom) comes over. Debra tells them what the nurse said and everyone begins to panic. Robert attempts to rush to the operating table, telling the nurse that he and Ray are the same blood type and that he can wake his brother up. Just before he walks through the door, the doctor emerges and says that everything is fine and that it occasionally happens due to hypertension. Everyone is relieved and agrees that they can't tell Ray or Marie about what happened.\n\nLater that evening, Debra brings Ray ice cream in bed. She watches as he starts eating and looks at him lovingly, telling him about what she is planning to do the next day, breaking down when she starts talking about the kids. Ray asks her if it is \"that time of the month.\" Debra begins passionately kissing Ray. Meanwhile, over at Marie's and Frank's, Frank reflects on what happened. Marie notices something is up because he's too silent and he turned down dessert. She finally gets Frank to tell her what happened at the hospital and is hysterical when she finds out that \"her son almost died\" and nobody told her.\n\nBack across the street, Ray and Debra are still in bed kissing and Marie rushes into their bedroom, jumping on the bed and embracing Raymond. With a central theme of the series being Marie's coddling of Ray, an annoyed Debra says to nobody in particular, \"I knew one day this would happen.\" Ray is mortified that \"his worst nightmare is coming true\" and asks what is going on. Amy, Robert, and Frank come into the bedroom and Frank tells Ray about what happened at the hospital. Ray is furious that nobody told him, but becomes curious as to how everyone reacted when they thought he might be dead. There is a pause and Ray irritably envisions what he thinks must have been going through Debra's head, saying that while she has to plan a funeral and raise three kids herself, she can finally start dating again. The scene takes on a moment of seriousness when Frank shouts at Raymond that he saw Debra fall apart in the waiting room, telling his son \"I've never seen her like that, and I'll tell you, I never want to see her like that again!\" Amy says that Robert had to pull the car over on the way home from the hospital because he was crying after \"You Are the Sunshine of My Life\" came on the radio (though Robert claims he pulled over because he thought he hit a cat). Everyone leaves and Debra and Ray are alone again.\n\nThe final scene of the series shows the entire family eating breakfast together after Frank breaks Marie's stove in an attempt to \"work on it.\" Each character seems to emote an amalgam of their signature qualities as they sit and eat together, and with Ray at the center of the table, Debra tells Ray, \"It's getting a little crowded in here,\" to which Ray responds, \"Yeah, you know what? We need a bigger table.\"\n\nProduction\nFilming of the episode began on January 20, 2005 (Actual film was used for this series).\n\nCast\nRay Romano as Ray Barone\nPatricia Heaton as Debra Barone\nDoris Roberts as Marie Barone\nPeter Boyle as Frank Barone\nBrad Garrett as Robert Barone\nMonica Horan as Amy Barone\nMadylin Sweeten as Ally Barone\nSullivan Sweeten as Michael Barone\nSawyer Sweeten as Geoffrey Barone\n\nBroadcast \nOn the night of its airing, \"The Finale\" aired after Everybody Loves Raymond: The Last Laugh, an hour-long behind-the-scenes documentary of making the episode; and an episode of Late Show with David Letterman that re-showed Romano's 1995 skit on the show that caused Everybody Loves Raymond to be green-lit. The top price for a 30-second commercial during the U.S. broadcast was approximately $1 million. The episode, according to the Nielsen ratings, averaged 33 million viewers, the largest audience in the show's nine-year run.\n\nCritical reception \nMiriam Di Nunzio of Chicago Sun-Times, awarding \"The Finale\" three-and-a-half stars, wrote the premise of all the family members loving each other made the episode \"emotional and unforgettable.\" Jeffrey Robinson called it \"a great episode with a solid combination of heartwarming material and comedy,\" also stating no other Raymond episode had the same level of sentimentality.\n\nReferences\n\nAmerican television series finales\n2005 American television episodes\nEverybody Loves Raymond episodes",
"Eoeugnathus is an extinct genus of prehistoric ray-finned fish belonging to the Halecomorphi. Eoeugnathus existed during the Middle Triassic in what is now Italy, Spain, and Switzerland. The type species is Eoeugnathus megalepis (monotypy).\n\nSee also\n\n Prehistoric fish\n List of prehistoric bony fish\n\nReferences\n\nHalecomorphi\nTriassic bony fish\nPrehistoric ray-finned fish genera\nTriassic fish of Europe"
]
|
[
"Jamie Foxx",
"2003-2006: Ray, Unpredictable, and Dreamgirls",
"What is Ray?",
"\". Foxx would also portray Ray Charles in the biographical film Ray (2004),"
]
| C_c99997ffaaf64589b792e7b53ed56f3c_1 | Did this film do well? | 2 | Did the film Ray do well? | Jamie Foxx | In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached #1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to #1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind". Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the second male in history to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray (the only other male actor to achieve this feat being Al Pacino). In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences. Foxx released his second studio album, Unpredictable, in December 2005. It debuted at #2, selling 598,000 copies in its first week, rising to #1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at #9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a #1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video. At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris. Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood. CANNOTANSWER | he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. | Eric Marlon Bishop (born December 13, 1967), known professionally as Jamie Foxx, is an American actor, comedian, and singer. In 1991 he joined the cast as a featured player in the sketch comedy show In Living Color until the show's end in 1994. Following this success, Foxx was given his own television sitcom The Jamie Foxx Show, in which he starred, co-created and produced, airing for five highly rated seasons from 1996 to 2001 on The WB Television Network.
He subsequently became widely known for his portrayal of Ray Charles in the 2004 biographical film Ray, for which he won the Academy Award, BAFTA, Screen Actors Guild Award, Critics' Choice Movie Award and Golden Globe Award for Best Actor in a Leading Role, becoming the second actor to win all five major lead actor awards for the same performance. That same year, Foxx was nominated for the Academy Award for Best Supporting Actor for his role in the crime film Collateral. Since spring 2017, Foxx has served as the host and executive producer of the Fox game show Beat Shazam.
Other acting roles include Staff Sergeant Sykes in Jarhead (2005), record executive Curtis Taylor Jr. in Dreamgirls (2006), Detective Ricardo Tubbs in the 2006 film adaptation of TV series Miami Vice, Django Freeman in the film Django Unchained (2012), the supervillain Electro in The Amazing Spider-Man 2 (2014) and Marvel Studios' Spider-Man: No Way Home (2021), Will Stacks in Annie (2014), gangster Leon "Bats" Jefferson III in Baby Driver (2017) and as Walter McMillian in Just Mercy (2019), where he received a SAG Award nomination.
Foxx is also a Grammy Award-winning musician, producing four albums, which have charted in the top ten of the U.S. Billboard 200: Unpredictable (2005), which topped the chart, Intuition (2008), Best Night of My Life (2010), and Hollywood: A Story of a Dozen Roses (2015).
Early life and education
Eric Marlon Bishop was born on December 13, 1967, in Terrell, Texas. He is the son of Darrell Bishop (renamed Shahid Abdula following his conversion to Islam), who sometimes worked as a stockbroker, and Louise Annette Talley Dixon. Shortly after his birth, Foxx was adopted and raised by his mother's adoptive parents, Estelle Marie (Nelson), a domestic worker and nursery operator, and Mark Talley, a yard worker. He has had little contact with his birth parents, who were not part of his upbringing. Foxx was raised in the black quarter of Terrell, which at the time was a racially segregated community. He has often acknowledged his grandmother's influence in his life as one of the greatest reasons for his success.
Foxx began playing the piano when he was five years old. He had a strict Baptist upbringing, and as a teenager he was a part-time pianist and choir leader in Terrell's New Hope Baptist Church. His natural talent for telling jokes was already in evidence as a third grader, when his teacher would use him as a reward: if the class behaved well, Foxx would tell them jokes. Foxx attended Terrell High School, where he received top grades and played basketball and football (as quarterback). His ambition was to play for the Dallas Cowboys, and he was the first player in the school's history to pass for more than 1,000 yards. He also sang in a band called Leather and Lace. After completing high school, Foxx received a scholarship to United States International University, where he studied musical and performing arts composition.
Career
1989–2003: Beginnings and acting debut
Foxx first told jokes at a comedy club's open mic night in 1989, after accepting a girlfriend's dare. When he found that female comedians were often called first to perform, he changed his name to Jamie Foxx, feeling that it was a name ambiguous enough to disallow any biases. He chose his surname as a tribute to the black comedian Redd Foxx. Foxx joined the cast of In Living Color in 1991, where his recurrent character Wanda also shared a name with Redd's friend and co-worker, LaWanda Page. Following a recurring role in the comedy-drama sitcom Roc, Foxx went on to star in his own sitcom The Jamie Foxx Show, from 1996 to 2001, and he also produced through his company Foxx Hole Productions.
Foxx made his film debut in the 1992 comedy Toys. His first dramatic role came in Oliver Stone's 1999 film Any Given Sunday, where he was cast as a hard-partying quarterback, partly because of his own football background. During filming, Foxx fought with costar LL Cool J.
In 2001, Foxx starred opposite Will Smith in Michael Mann's biographical drama Ali. Three years later, Foxx played taxi driver Max Durocher in the Mann film Collateral alongside Tom Cruise, for which he received outstanding reviews and a nomination for the Academy Award for Best Supporting Actor.
In 1994, Foxx released an album (on the Fox record label) entitled Peep This, which was not commercially successful. In 2003, Foxx made a cameo in Benzino's music video for "Would You", which features LisaRaye McCoy and Mario Winans.
2003–2006: Ray, Unpredictable, and Dreamgirls
In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached No. 1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to No. 1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind".
Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the third male in history (after Barry Fitzgerald and Al Pacino) to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray. In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences.
Foxx released his second studio album, Unpredictable, in December 2005. It debuted at No. 2, selling 598,000 copies in its first week, rising to No. 1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at No. 9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a No. 1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video.
At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris.
Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood.
2007–2009: Intuition
2007 brought him the lead role in the action thriller film The Kingdom opposite Chris Cooper, Jason Bateman, Jennifer Garner and Ashraf Barhom. In September 2007, Foxx was awarded a star on the Hollywood Walk of Fame: "[it was] one of the most amazing days of my life," said Foxx. In April 2009, Foxx played the lead role in the dramatic film The Soloist. A few months later in October 2009, he played a starring role alongside Gerard Butler in the thriller Law Abiding Citizen. In 2007, his company FoxxKing Entertainment signed deals with MTV and VH1.
Foxx released his third album titled Intuition in 2008, featuring Kanye West, T.I., Ne-Yo, Lil' Kim and T-Pain. The album's first single, "Just Like Me" featuring T.I., was promoted by a video directed by Brett Ratner which featured an appearance by actress Taraji P. Henson. The second single "Blame It" featured T-Pain and became a top 5 single on the Billboard Hot 100 and a number-one single on the Billboard Hot R&B/Hip-Hop Songs chart. The "Blame It" music video, directed by Hype Williams, features cameo appearances by Forest Whitaker, Samuel L. Jackson, Ron Howard, Quincy Jones and his Jarhead co-star Jake Gyllenhaal, amongst others.
Foxx's musical career has also included a number of collaborations. In 2007, he recorded the song "She Goes All the Way" with country superstars Rascal Flatts for their Still Feels Good album. Foxx performed backing vocals for artist/songwriter Tank. He featured alongside The-Dream on Plies' "Please Excuse My Hands." He also appeared alongside Fabolous on the remix of Ne-Yo's "Miss Independent". Foxx collaborated with rapper The Game on the track "Around the World". Foxx also featured on T.I.'s single "Live in the Sky" from the album King.
On January 22, 2007, Foxx launched The Foxxhole, a channel on Sirius Satellite Radio featuring talk-radio programs, stand-up comedy albums and music primarily by African-American performers, as well as much of Foxx's own material. Foxx's own talk-radio variety program The Jamie Foxx Show airs Friday evenings on The Foxxhole with guests including musicians, actors and fellow comedians; co-hosts have included Johnny Mack, Speedy, Claudia Jordan, The Poetess, Lewis Dix, Yvette Wilson, T.D.P and Tyrin Turner. On the April 17, 2009 episode of The Jamie Foxx Show, Foxx and his co-hosts made several sexually suggestive and disparaging jokes regarding the teenage singer Miley Cyrus. Several days later Foxx issued a public apology on The Tonight Show with Jay Leno in response to growing public outcry and televised criticism by Cyrus's father, country singer Billy Ray Cyrus.
On April 6, 2009, Foxx, a longtime fan of country music, performed the George Strait song "You Look So Good in Love" at the George Strait Artist of the Decade All-Star Concert. Jamie Foxx hosted the 2009 BET Awards ceremony on June 28, 2009, which featured several tributes to pop star Michael Jackson, who had died three days prior to the show. As well as performing "Blame It" with T-Pain and "She Got Her Own" with Ne-Yo and Fabolous, Foxx opened the show with a rendition of Jackson's "Beat It" dance routine and closed the show with a cover of The Jackson 5's "I'll Be There" with Ne-Yo. "We want to celebrate this black man. He belongs to us and we shared him with everybody else.", said Foxx during the ceremony.
2010–2012: Best Night of My Life and Django Unchained
In April 2011, Foxx voiced the cartoon canary Nico in the movie Rio. During the summer of 2011, Foxx was involved as a producer of In the Flow with Affion Crockett on Fox.
Foxx released his fourth album, Best Night of My Life, on December 21, 2010, featuring the singles "Winner" (featuring Justin Timberlake and T.I.), "Living Better Now" (featuring rapper Rick Ross) and "Fall for Your Type" (featuring rapper Drake). On October 7, the RCA Music Group announced that it was disbanding J Records along with Arista Records and Jive Records, meaning that all artists (including Foxx) previously signed to the three labels will release their future material on the RCA Records brand. In 2011, Jamie Foxx also featured on the rapper Pitbull's album Planet Pit, in the song "Where Do We Go".
In 2012, Foxx starred in the title role of the Quentin Tarantino written and directed Django Unchained. Foxx starred alongside his Ray co-star Kerry Washington, as well as Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson. In an interview about Django Unchained, Foxx told Vibe magazine: "As a black person it's always racial. ... when I get home my other homies are like how was your day? Well, I only had to be white for at least eight hours today, [or] I only had to be white for four hours." The filming was emotional as Foxx said, "It's tough shooting when you're in plantation row and that's where your ancestors were persecuted and killed."
On November 25, 2012, at BET's Soul Train Awards, Foxx joked: "It's like church in here. First of all, giving honor to God and our lord and savior Barack Obama." The joke led to condemnation from some Christians, to which Foxx responded: "I'm a comic [and] sometimes I think people get a little too tight." While hosting Saturday Night Live on December 8, 2012, to promote Django Unchained, Foxx joked about being excited "to kill all the white people in the movie". Appearing at the 2013 NAACP Image Awards, Foxx praised the achievements of black people, saying that "black people are the most talented people in the world".
2013–present: White House Down, Baby Driver, Hollywood and Project Power
In 2013, Foxx was cast as President James Sawyer in White House Down alongside Channing Tatum. The following year, Foxx appeared in The Amazing Spider-Man 2 as the villain Electro, and co-starred with Quvenzhané Wallis in Annie, Sony's Will Smith and Jay-Z produced update of the comic strip-turned-musical. In 2017, Foxx starred as Bats, a trigger-happy gang member, in Edgar Wright's action film Baby Driver.
Foxx's October 2014 Deja Vu duet with Dionne Warwick appears on the Feels So Good album released by Warwick. He released his fifth studio album, Hollywood: A Story of a Dozen Roses, on May 18, 2015. It debuted atop the Top R&B/Hip-Hop Albums charts and at No. 10 on the Billboard 200. In 2015, Foxx's voice was featured in the chorus on the Ariana Grande song, "Focus".
Since its debut in 2017, Foxx has been the host and executive producer of the Fox game show Beat Shazam, whose premise is similar to the once-popular game show format Name That Tune. On the show, three sets of two partners try to beat the software application Shazam in correctly identifying the titles of popular songs for increasingly higher amounts of money, with one team eventually vying for a potential prize of $1 million. Foxx's daughter Corinne began co-hosting the show in its second season in 2018, replacing DJ October Gonzalez. The show has aired four seasons so far.
Foxx co-executive produced the 2017 Showtime sitcom White Famous, which starred Jay Pharoah as a young aspiring African-American comic, and was based on Foxx's own early career. Foxx also occasionally appeared on the show as himself. White Famous got middling reviews and ratings, and was cancelled after one season.
On May 22, 2019, Foxx appeared as George Jefferson in Live in Front of a Studio Audience: Norman Lear's All in the Family and The Jeffersons on ABC. That year, he played wrongly convicted death row prisoner Walter McMillian in the drama film Just Mercy, for which he received significant critical acclaim.
Foxx starred in Project Power, directed by Ariel Schulman and Henry Joost, opposite Joseph Gordon-Levitt and Dominique Fishback, which was released on August 14, 2020, by Netflix.
On November 13, 2019, Foxx was cast as the voice lead in the Pixar film Soul. Soul was set to be released theatrically on June 19, 2020, but due to the COVID-19 pandemic, Disney delayed the film's release to December 25, 2020, on Disney+.
In 2020, Foxx signed an overall deal with Sony Pictures Entertainment.
Foxx co-created, executive produced and starred in the 2021 Netflix sitcom Dad Stop Embarrassing Me!, in which he played the single father of two teenage girls. The series marked Foxx's return to the sitcom format after The Jamie Foxx Show ended in 2001. The entire eight-episode series premiered April 14, 2021 on Netflix. It was cancelled after one season.
He reprised his role as Electro in Spider-Man: No Way Home (2021), set in the Marvel Cinematic Universe.
In 2021, Foxx released the memoir Act Like You Got Some Sense: And Other Things My Daughters Taught Me, which focused on his family life, both as a child and as an adult.
Upcoming projects
On May 29, 2018, Foxx was cast as Al Simmons in a planned reboot of the Spawn film franchise, to be directed by Todd McFarlane. In 2015, Foxx became attached to portray former boxer Mike Tyson in a biographical drama film Finding Mike; in 2020, he began to exercise in order to gain muscle for the role. In 2021, the project turned into a miniseries, to be directed by Antoine Fuqua.
Legal issues
In April 2003, Foxx was involved in an incident with two police officers who were attempting to escort him and his sister out of Harrah's casino in New Orleans. Employees claimed the Foxx party had failed to show identification upon entry. Originally charged with trespassing, disturbing the peace, battery on police officers and resisting arrest, Foxx pleaded no contest to disturbing the peace in exchange for the other charges being dropped, and was sentenced to a six-month suspended jail term with two years of probation and a $1,500 fine.
Personal life
Foxx has two daughters: Corinne (born 1994) and Anelise (born August 2009). Corinne made her formal debut at the Bal des débutantes in November 2014 and was named Miss Golden Globe 2016 on November 18, 2015.
In 2008, Foxx filmed a public service announcement for Do Something to promote food drives in local communities.
From 2013 to 2019, Foxx was in a relationship with actress Katie Holmes.
On January 18, 2016, Foxx rescued a young man from a burning vehicle that crashed outside his home. The driver, Brett Kyle, was driving his truck "at a high rate of speed" when the truck left the road, traveled into a drainage ditch, and rolled over several times. Kyle was arrested for driving under the influence of alcohol.
On October 26, 2020, Foxx announced via Instagram that his 36-year-old sister Deondra Dixon had died. Dixon was born with Down syndrome and had been an ambassador for the Global Down Syndrome Foundation.
Filmography
Discography
Peep This (1994)
Unpredictable (2005)
Intuition (2008)
Best Night of My Life (2010)
Hollywood: A Story of a Dozen Roses (2015)
Tours
The Unpredictable Tour (2006)
The Blame It Tour (2009)
Stand-up specials
Jamie Foxx: Straight from the Foxxhole (1993)
Jamie Foxx: I Might Need Security (2002)
Jamie Foxx Unleashed: Lost, Stolen and Leaked! (2003)
Book
Foxx, Jamie (with Nick Chiles). Act Like You Got Some Sense: And Other Things My Daughters Taught Me. 2021: Grand Central Publishing. .
Accolades
See also
List of actors with Academy Award nominations
List of actors with two or more Academy Awards in acting categories
List of actors nominated for two Academy Awards in the same year
List of black Academy Award winners and nominees
List of black Golden Globe Award winners and nominees
References
External links
1967 births
Living people
20th-century American comedians
20th-century American male actors
20th-century American singers
21st-century American comedians
21st-century American male actors
21st-century American singers
African-American game show hosts
African-American male actors
African-American male comedians
African-American male singers
American adoptees
American comedy musicians
American contemporary R&B singers
American hip hop singers
American male comedians
American male film actors
American male singers
American male television actors
American stand-up comedians
Baptists from Texas
Best Actor Academy Award winners
Best Actor BAFTA Award winners
Best Musical or Comedy Actor Golden Globe (film) winners
Comedians from Texas
Grammy Award winners
Male actors from Texas
Method actors
Outstanding Performance by a Male Actor in a Leading Role Screen Actors Guild Award winners
People from Terrell, Texas
RCA Records artists
Singers from Texas
United States International University alumni | true | [
"A Ne'er-do-well is a good-for-nothing person.\n\nNe'er-do-well may also refer to:\n The Ne'er-do-Weel, an 1878 play by W. S. Gilbert, revived soon afterwards as The Vagabond\n The Ne'er-Do-Well, a 1911 novel by Rex Beach, adapted for film several times in the silent era\n The Ne'er-Do-Well (1916 film), a 1916 American silent adventure crime drama film\n\n The Ne'er-Do-Well, a 1923 silent film directed by Alfred E. Green\n\n Ne'er-Do-Well, a 1956 novel by Dornford Yates\n\n Ne'er Do Wells, a rock band",
"Posti is a 1950 Indian Punjabi-language film and the first production of Kwatra Production (of Sardul Singh Kwatra and Harcharan Singh Kwatra), directed by K. D. Mehra (Krishan Dev Mehra), starring Majnu and Shyama in the lead roles. Shyama was the principal female actress of this movie.\n It did well at the box office in the Punjab and Delhi areas. Noted playback singer, Asha Bhosle, made her debut with the film.\n\nMusic \n\nThe music, composed by Sardul Singh Kwatra, played a major role in the film's success. Sardul modified the folk tunes of Punjab and the songs were hits. Asha Bhosle, Mohammad Rafi, Shamshad Begum, Rajkumari and Jagjit Kaur were the playback singers. Rajkumari first sang for a Punjabi Kurhmai in 1941, but in the film Posti, her songs became real hits. Popular songs of the film include \"Do Guttan Kar Merian\" by Asha Bhosle, \"Kajjle Di Paanian Dhaar\" by Rajkumari and a duet, \"Ja Bhaira Posti\" by Mohd. Rafi and Shamshad Begum.\n\nSee also \n\nBhangra\nLachhi\nDo Lachhian\n\nReferences\n\nExternal links \n\ngetpunjab\n\n1950 films\nIndian black-and-white films\nFilms set in Punjab, India\nIndian films\n1950s Punjabi-language films"
]
|
[
"Jamie Foxx",
"2003-2006: Ray, Unpredictable, and Dreamgirls",
"What is Ray?",
"\". Foxx would also portray Ray Charles in the biographical film Ray (2004),",
"Did this film do well?",
"he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role."
]
| C_c99997ffaaf64589b792e7b53ed56f3c_1 | What is Unpredictable/ | 3 | What is Unpredictable by Jamie Foxx? | Jamie Foxx | In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached #1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to #1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind". Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the second male in history to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray (the only other male actor to achieve this feat being Al Pacino). In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences. Foxx released his second studio album, Unpredictable, in December 2005. It debuted at #2, selling 598,000 copies in its first week, rising to #1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at #9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a #1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video. At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris. Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood. CANNOTANSWER | his second studio album, Unpredictable, | Eric Marlon Bishop (born December 13, 1967), known professionally as Jamie Foxx, is an American actor, comedian, and singer. In 1991 he joined the cast as a featured player in the sketch comedy show In Living Color until the show's end in 1994. Following this success, Foxx was given his own television sitcom The Jamie Foxx Show, in which he starred, co-created and produced, airing for five highly rated seasons from 1996 to 2001 on The WB Television Network.
He subsequently became widely known for his portrayal of Ray Charles in the 2004 biographical film Ray, for which he won the Academy Award, BAFTA, Screen Actors Guild Award, Critics' Choice Movie Award and Golden Globe Award for Best Actor in a Leading Role, becoming the second actor to win all five major lead actor awards for the same performance. That same year, Foxx was nominated for the Academy Award for Best Supporting Actor for his role in the crime film Collateral. Since spring 2017, Foxx has served as the host and executive producer of the Fox game show Beat Shazam.
Other acting roles include Staff Sergeant Sykes in Jarhead (2005), record executive Curtis Taylor Jr. in Dreamgirls (2006), Detective Ricardo Tubbs in the 2006 film adaptation of TV series Miami Vice, Django Freeman in the film Django Unchained (2012), the supervillain Electro in The Amazing Spider-Man 2 (2014) and Marvel Studios' Spider-Man: No Way Home (2021), Will Stacks in Annie (2014), gangster Leon "Bats" Jefferson III in Baby Driver (2017) and as Walter McMillian in Just Mercy (2019), where he received a SAG Award nomination.
Foxx is also a Grammy Award-winning musician, producing four albums, which have charted in the top ten of the U.S. Billboard 200: Unpredictable (2005), which topped the chart, Intuition (2008), Best Night of My Life (2010), and Hollywood: A Story of a Dozen Roses (2015).
Early life and education
Eric Marlon Bishop was born on December 13, 1967, in Terrell, Texas. He is the son of Darrell Bishop (renamed Shahid Abdula following his conversion to Islam), who sometimes worked as a stockbroker, and Louise Annette Talley Dixon. Shortly after his birth, Foxx was adopted and raised by his mother's adoptive parents, Estelle Marie (Nelson), a domestic worker and nursery operator, and Mark Talley, a yard worker. He has had little contact with his birth parents, who were not part of his upbringing. Foxx was raised in the black quarter of Terrell, which at the time was a racially segregated community. He has often acknowledged his grandmother's influence in his life as one of the greatest reasons for his success.
Foxx began playing the piano when he was five years old. He had a strict Baptist upbringing, and as a teenager he was a part-time pianist and choir leader in Terrell's New Hope Baptist Church. His natural talent for telling jokes was already in evidence as a third grader, when his teacher would use him as a reward: if the class behaved well, Foxx would tell them jokes. Foxx attended Terrell High School, where he received top grades and played basketball and football (as quarterback). His ambition was to play for the Dallas Cowboys, and he was the first player in the school's history to pass for more than 1,000 yards. He also sang in a band called Leather and Lace. After completing high school, Foxx received a scholarship to United States International University, where he studied musical and performing arts composition.
Career
1989–2003: Beginnings and acting debut
Foxx first told jokes at a comedy club's open mic night in 1989, after accepting a girlfriend's dare. When he found that female comedians were often called first to perform, he changed his name to Jamie Foxx, feeling that it was a name ambiguous enough to disallow any biases. He chose his surname as a tribute to the black comedian Redd Foxx. Foxx joined the cast of In Living Color in 1991, where his recurrent character Wanda also shared a name with Redd's friend and co-worker, LaWanda Page. Following a recurring role in the comedy-drama sitcom Roc, Foxx went on to star in his own sitcom The Jamie Foxx Show, from 1996 to 2001, and he also produced through his company Foxx Hole Productions.
Foxx made his film debut in the 1992 comedy Toys. His first dramatic role came in Oliver Stone's 1999 film Any Given Sunday, where he was cast as a hard-partying quarterback, partly because of his own football background. During filming, Foxx fought with costar LL Cool J.
In 2001, Foxx starred opposite Will Smith in Michael Mann's biographical drama Ali. Three years later, Foxx played taxi driver Max Durocher in the Mann film Collateral alongside Tom Cruise, for which he received outstanding reviews and a nomination for the Academy Award for Best Supporting Actor.
In 1994, Foxx released an album (on the Fox record label) entitled Peep This, which was not commercially successful. In 2003, Foxx made a cameo in Benzino's music video for "Would You", which features LisaRaye McCoy and Mario Winans.
2003–2006: Ray, Unpredictable, and Dreamgirls
In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached No. 1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to No. 1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind".
Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the third male in history (after Barry Fitzgerald and Al Pacino) to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray. In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences.
Foxx released his second studio album, Unpredictable, in December 2005. It debuted at No. 2, selling 598,000 copies in its first week, rising to No. 1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at No. 9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a No. 1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video.
At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris.
Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood.
2007–2009: Intuition
2007 brought him the lead role in the action thriller film The Kingdom opposite Chris Cooper, Jason Bateman, Jennifer Garner and Ashraf Barhom. In September 2007, Foxx was awarded a star on the Hollywood Walk of Fame: "[it was] one of the most amazing days of my life," said Foxx. In April 2009, Foxx played the lead role in the dramatic film The Soloist. A few months later in October 2009, he played a starring role alongside Gerard Butler in the thriller Law Abiding Citizen. In 2007, his company FoxxKing Entertainment signed deals with MTV and VH1.
Foxx released his third album titled Intuition in 2008, featuring Kanye West, T.I., Ne-Yo, Lil' Kim and T-Pain. The album's first single, "Just Like Me" featuring T.I., was promoted by a video directed by Brett Ratner which featured an appearance by actress Taraji P. Henson. The second single "Blame It" featured T-Pain and became a top 5 single on the Billboard Hot 100 and a number-one single on the Billboard Hot R&B/Hip-Hop Songs chart. The "Blame It" music video, directed by Hype Williams, features cameo appearances by Forest Whitaker, Samuel L. Jackson, Ron Howard, Quincy Jones and his Jarhead co-star Jake Gyllenhaal, amongst others.
Foxx's musical career has also included a number of collaborations. In 2007, he recorded the song "She Goes All the Way" with country superstars Rascal Flatts for their Still Feels Good album. Foxx performed backing vocals for artist/songwriter Tank. He featured alongside The-Dream on Plies' "Please Excuse My Hands." He also appeared alongside Fabolous on the remix of Ne-Yo's "Miss Independent". Foxx collaborated with rapper The Game on the track "Around the World". Foxx also featured on T.I.'s single "Live in the Sky" from the album King.
On January 22, 2007, Foxx launched The Foxxhole, a channel on Sirius Satellite Radio featuring talk-radio programs, stand-up comedy albums and music primarily by African-American performers, as well as much of Foxx's own material. Foxx's own talk-radio variety program The Jamie Foxx Show airs Friday evenings on The Foxxhole with guests including musicians, actors and fellow comedians; co-hosts have included Johnny Mack, Speedy, Claudia Jordan, The Poetess, Lewis Dix, Yvette Wilson, T.D.P and Tyrin Turner. On the April 17, 2009 episode of The Jamie Foxx Show, Foxx and his co-hosts made several sexually suggestive and disparaging jokes regarding the teenage singer Miley Cyrus. Several days later Foxx issued a public apology on The Tonight Show with Jay Leno in response to growing public outcry and televised criticism by Cyrus's father, country singer Billy Ray Cyrus.
On April 6, 2009, Foxx, a longtime fan of country music, performed the George Strait song "You Look So Good in Love" at the George Strait Artist of the Decade All-Star Concert. Jamie Foxx hosted the 2009 BET Awards ceremony on June 28, 2009, which featured several tributes to pop star Michael Jackson, who had died three days prior to the show. As well as performing "Blame It" with T-Pain and "She Got Her Own" with Ne-Yo and Fabolous, Foxx opened the show with a rendition of Jackson's "Beat It" dance routine and closed the show with a cover of The Jackson 5's "I'll Be There" with Ne-Yo. "We want to celebrate this black man. He belongs to us and we shared him with everybody else.", said Foxx during the ceremony.
2010–2012: Best Night of My Life and Django Unchained
In April 2011, Foxx voiced the cartoon canary Nico in the movie Rio. During the summer of 2011, Foxx was involved as a producer of In the Flow with Affion Crockett on Fox.
Foxx released his fourth album, Best Night of My Life, on December 21, 2010, featuring the singles "Winner" (featuring Justin Timberlake and T.I.), "Living Better Now" (featuring rapper Rick Ross) and "Fall for Your Type" (featuring rapper Drake). On October 7, the RCA Music Group announced that it was disbanding J Records along with Arista Records and Jive Records, meaning that all artists (including Foxx) previously signed to the three labels will release their future material on the RCA Records brand. In 2011, Jamie Foxx also featured on the rapper Pitbull's album Planet Pit, in the song "Where Do We Go".
In 2012, Foxx starred in the title role of the Quentin Tarantino written and directed Django Unchained. Foxx starred alongside his Ray co-star Kerry Washington, as well as Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson. In an interview about Django Unchained, Foxx told Vibe magazine: "As a black person it's always racial. ... when I get home my other homies are like how was your day? Well, I only had to be white for at least eight hours today, [or] I only had to be white for four hours." The filming was emotional as Foxx said, "It's tough shooting when you're in plantation row and that's where your ancestors were persecuted and killed."
On November 25, 2012, at BET's Soul Train Awards, Foxx joked: "It's like church in here. First of all, giving honor to God and our lord and savior Barack Obama." The joke led to condemnation from some Christians, to which Foxx responded: "I'm a comic [and] sometimes I think people get a little too tight." While hosting Saturday Night Live on December 8, 2012, to promote Django Unchained, Foxx joked about being excited "to kill all the white people in the movie". Appearing at the 2013 NAACP Image Awards, Foxx praised the achievements of black people, saying that "black people are the most talented people in the world".
2013–present: White House Down, Baby Driver, Hollywood and Project Power
In 2013, Foxx was cast as President James Sawyer in White House Down alongside Channing Tatum. The following year, Foxx appeared in The Amazing Spider-Man 2 as the villain Electro, and co-starred with Quvenzhané Wallis in Annie, Sony's Will Smith and Jay-Z produced update of the comic strip-turned-musical. In 2017, Foxx starred as Bats, a trigger-happy gang member, in Edgar Wright's action film Baby Driver.
Foxx's October 2014 Deja Vu duet with Dionne Warwick appears on the Feels So Good album released by Warwick. He released his fifth studio album, Hollywood: A Story of a Dozen Roses, on May 18, 2015. It debuted atop the Top R&B/Hip-Hop Albums charts and at No. 10 on the Billboard 200. In 2015, Foxx's voice was featured in the chorus on the Ariana Grande song, "Focus".
Since its debut in 2017, Foxx has been the host and executive producer of the Fox game show Beat Shazam, whose premise is similar to the once-popular game show format Name That Tune. On the show, three sets of two partners try to beat the software application Shazam in correctly identifying the titles of popular songs for increasingly higher amounts of money, with one team eventually vying for a potential prize of $1 million. Foxx's daughter Corinne began co-hosting the show in its second season in 2018, replacing DJ October Gonzalez. The show has aired four seasons so far.
Foxx co-executive produced the 2017 Showtime sitcom White Famous, which starred Jay Pharoah as a young aspiring African-American comic, and was based on Foxx's own early career. Foxx also occasionally appeared on the show as himself. White Famous got middling reviews and ratings, and was cancelled after one season.
On May 22, 2019, Foxx appeared as George Jefferson in Live in Front of a Studio Audience: Norman Lear's All in the Family and The Jeffersons on ABC. That year, he played wrongly convicted death row prisoner Walter McMillian in the drama film Just Mercy, for which he received significant critical acclaim.
Foxx starred in Project Power, directed by Ariel Schulman and Henry Joost, opposite Joseph Gordon-Levitt and Dominique Fishback, which was released on August 14, 2020, by Netflix.
On November 13, 2019, Foxx was cast as the voice lead in the Pixar film Soul. Soul was set to be released theatrically on June 19, 2020, but due to the COVID-19 pandemic, Disney delayed the film's release to December 25, 2020, on Disney+.
In 2020, Foxx signed an overall deal with Sony Pictures Entertainment.
Foxx co-created, executive produced and starred in the 2021 Netflix sitcom Dad Stop Embarrassing Me!, in which he played the single father of two teenage girls. The series marked Foxx's return to the sitcom format after The Jamie Foxx Show ended in 2001. The entire eight-episode series premiered April 14, 2021 on Netflix. It was cancelled after one season.
He reprised his role as Electro in Spider-Man: No Way Home (2021), set in the Marvel Cinematic Universe.
In 2021, Foxx released the memoir Act Like You Got Some Sense: And Other Things My Daughters Taught Me, which focused on his family life, both as a child and as an adult.
Upcoming projects
On May 29, 2018, Foxx was cast as Al Simmons in a planned reboot of the Spawn film franchise, to be directed by Todd McFarlane. In 2015, Foxx became attached to portray former boxer Mike Tyson in a biographical drama film Finding Mike; in 2020, he began to exercise in order to gain muscle for the role. In 2021, the project turned into a miniseries, to be directed by Antoine Fuqua.
Legal issues
In April 2003, Foxx was involved in an incident with two police officers who were attempting to escort him and his sister out of Harrah's casino in New Orleans. Employees claimed the Foxx party had failed to show identification upon entry. Originally charged with trespassing, disturbing the peace, battery on police officers and resisting arrest, Foxx pleaded no contest to disturbing the peace in exchange for the other charges being dropped, and was sentenced to a six-month suspended jail term with two years of probation and a $1,500 fine.
Personal life
Foxx has two daughters: Corinne (born 1994) and Anelise (born August 2009). Corinne made her formal debut at the Bal des débutantes in November 2014 and was named Miss Golden Globe 2016 on November 18, 2015.
In 2008, Foxx filmed a public service announcement for Do Something to promote food drives in local communities.
From 2013 to 2019, Foxx was in a relationship with actress Katie Holmes.
On January 18, 2016, Foxx rescued a young man from a burning vehicle that crashed outside his home. The driver, Brett Kyle, was driving his truck "at a high rate of speed" when the truck left the road, traveled into a drainage ditch, and rolled over several times. Kyle was arrested for driving under the influence of alcohol.
On October 26, 2020, Foxx announced via Instagram that his 36-year-old sister Deondra Dixon had died. Dixon was born with Down syndrome and had been an ambassador for the Global Down Syndrome Foundation.
Filmography
Discography
Peep This (1994)
Unpredictable (2005)
Intuition (2008)
Best Night of My Life (2010)
Hollywood: A Story of a Dozen Roses (2015)
Tours
The Unpredictable Tour (2006)
The Blame It Tour (2009)
Stand-up specials
Jamie Foxx: Straight from the Foxxhole (1993)
Jamie Foxx: I Might Need Security (2002)
Jamie Foxx Unleashed: Lost, Stolen and Leaked! (2003)
Book
Foxx, Jamie (with Nick Chiles). Act Like You Got Some Sense: And Other Things My Daughters Taught Me. 2021: Grand Central Publishing. .
Accolades
See also
List of actors with Academy Award nominations
List of actors with two or more Academy Awards in acting categories
List of actors nominated for two Academy Awards in the same year
List of black Academy Award winners and nominees
List of black Golden Globe Award winners and nominees
References
External links
1967 births
Living people
20th-century American comedians
20th-century American male actors
20th-century American singers
21st-century American comedians
21st-century American male actors
21st-century American singers
African-American game show hosts
African-American male actors
African-American male comedians
African-American male singers
American adoptees
American comedy musicians
American contemporary R&B singers
American hip hop singers
American male comedians
American male film actors
American male singers
American male television actors
American stand-up comedians
Baptists from Texas
Best Actor Academy Award winners
Best Actor BAFTA Award winners
Best Musical or Comedy Actor Golden Globe (film) winners
Comedians from Texas
Grammy Award winners
Male actors from Texas
Method actors
Outstanding Performance by a Male Actor in a Leading Role Screen Actors Guild Award winners
People from Terrell, Texas
RCA Records artists
Singers from Texas
United States International University alumni | true | [
"In cryptography, a pseudorandom permutation (PRP) is a function that cannot be distinguished from a random permutation (that is, a permutation selected at random with uniform probability, from the family of all permutations on the function's domain) with practical effort.\n\nDefinition\nLet F be a mapping . F is a PRP if and only if\n For any , F is a bijection from to .\n For any , there is an \"efficient\" algorithm to evaluate for any ,.\n For all probabilistic polynomial-time distinguishers : , where is chosen uniformly at random and is chosen uniformly at random from the set of permutations on n-bit strings.\n\nA pseudorandom permutation family is a collection of pseudorandom permutations, where a specific permutation may be chosen using a key.\n\nThe model of block ciphers\n\nThe idealized abstraction of a (keyed) block cipher is a truly random permutation on the mappings between plaintext and ciphertext. If a distinguishing algorithm exists that achieves significant advantage with less effort than specified by the block cipher's security parameter (this usually means the effort required should be about the same as a brute force search through the cipher's key space), then the cipher is considered broken at least in a certificational sense, even if such a break doesn't immediately lead to a practical security failure.\n\nModern ciphers are expected to have super pseudorandomness.\nThat is, the cipher should be indistinguishable from a randomly chosen permutation on the same message space, even if the adversary has black-box access to the forward and inverse directions of the cipher.\n\nConnections with pseudorandom function\nMichael Luby and Charles Rackoff showed that a \"strong\" pseudorandom permutation can be built from a pseudorandom function using a Luby–Rackoff construction which is built using a Feistel cipher.\n\nRelated concepts\n\nUnpredictable permutation\nAn unpredictable permutation (UP) Fk is a permutation whose values cannot be predicted by a fast randomized algorithm. Unpredictable permutations may be used as a cryptographic primitive, a building block for cryptographic systems with more complex properties.\n\nAn adversary for an unpredictable permutation is defined to be an algorithm that is given access to an oracle for both forward and inverse permutation operations. The adversary is given a challenge input k and is asked to predict the value of Fk. It is allowed to make a series of queries to the oracle to help it make this prediction, but is not allowed to query the value of k itself.\n\nA randomized algorithm for generating permutations generates an unpredictable permutation if its outputs are permutations on a set of items (described by length-n binary strings) that cannot be predicted with accuracy significantly better than random by an adversary that makes a polynomial (in n) number of queries to the oracle prior to the challenge round, whose running time is polynomial in n, and whose error probability is less than 1/2 for all instances. That is, it cannot be predicted in the complexity class PP, relativized by the oracle for the permutation.\n\nProperties of unpredictable permutations\nIt can be shown that a function Fk is not a secure message authentication code (MAC) if it satisfies only the unpredictability requirement. It can also be shown that one cannot build an efficient variable input length MAC from a block cipher which is modelled as a UP of n bits. It has been shown that the output of a k = n/ω(log λ) round Feistel construction with unpredictable round functions may leak all the intermediate round values. Even for realistic Unpredictable Functions (UF), some partial information about the intermediate round values may be leaked through the output. It was later shown that if a super-logarithmic number of rounds in the Feistel construction is used, then the resulting UP construction is secure even if the adversary gets all the intermediate round values along with the permutation output.\n\nThere is also a theorem that has been proven in this regard which states that if there exists an efficient UP adversary Aπ that has non-negligible advantage επ in the unpredictability game against UP construction ψU,k and which makes a polynomial number of queries to the challenger, then there also exists a UF adversary Af that has non-negligible advantage in the unpredictability game against a UF sampled from the UF family F . From this, it can be shown that the maximum advantage of the UP adversary Aπ is επ = O (εf. (qk)6). Here εf denotes the maximum advantage of a UF adversary running in time O(t + (qk)5) against a UF sampled from F, where t is the running time of the PRP adversary Aψ and q is the number of queries made by it.\n\nIn addition, a signature scheme that satisfies the property of unpredictability and not necessarily pseudo-randomness is essentially a Verifiable Unpredictable Function (VUF). A verifiable unpredictable function is defined analogously to a Verifiable Pseudorandom Function (VRF) but for pseudo-randomness being substituted with weaker unpredictability. Verifiable unpredictable permutations are the permutation analogs of VUFs or unpredictable analogs of VRPs. A VRP is also a VUP and a VUP can actually be built by building a VRP via the Feistel construction applied to a VRF. But this is not viewed useful since VUFs appear to be much easier to construct than VRFs.\n\nApplications\n DES\nK x X → X ∀ X={0,1}64, K={0,1}56\n AES-128\nK x X → X ∀ k=X={0,1}128\n\nSee also\nBlock cipher (pseudorandom permutation families operating on fixed-size blocks of bits)\nFormat-preserving encryption (pseudorandom permutation families operating on arbitrary finite sets)\n\nReferences \n\nTheory of cryptography\nCryptographic primitives\nPermutations",
"Unpredictable is the first collaborative studio album by American rapper Malik B. and producer Mr. Green. It was released on February 24, 2015. It was also the last album released by Malik B. before he died on July 29, 2020.\n\nBackground \nWith his popular \"Live From The Streets\" web series (Noisey/Vice), Mr. Green has forged a reputation for harnessing the serendipitous musical moments that arise from life's chance encounters with talented musicians. So when he had one of those encounters with the legendary Roots crew emcee, Malik B, outside of The Roots' annual picnic in 2012, it made perfect sense that they would turn a brief moment of mutual inspiration into a full-fledged collaborative album. Malik B and Mr. Green's collaborative album, \"Unpredictable\", is an appropriate title for the thirteen track journey through the kind of handcrafted hip hop created when two skilled musicians come together to capture the mystique that unpredictably arrives during the recording process. \"Malik would show up at the studio with a garbage bag of rhymes and go through them. Some of them were old and weathered, literally falling apart\", describes Mr. Green. \"Then he would just start recording the song in one take: intro, verses, chorus. It was nothing like I'd seen before\". Although recording ''Unpredictable'' was chaotic at times, the duo's chemistry is undeniable. Malik adds, \"Our chemistry is just crazy; our chemistry is like algebra\".\n\nTrack listing \nAll tracks produced by Mr. Green\nSamples \n \"What Can I Say\" sampled \"What Can I Say\" by Mr. Green (2006)\n \"Tyrants\" sampled \"The Stopper (Main Attraction Remix)\" by Cutty Ranks (1991)\n\nPersonnel \n Malik Abdul Basit – primary performer\n Aaron Green – producer\n Scott Stallone at Found Sound Recording (Phila, PA) – mixing on tracks 1–11,13\n Chris Conway – mixing on track 12\n Pete Humphreys – mastering\n Vshootz – photography\n Dan Bradley – design and layout\n\nReferences \n\n2015 albums"
]
|
[
"Jamie Foxx",
"2003-2006: Ray, Unpredictable, and Dreamgirls",
"What is Ray?",
"\". Foxx would also portray Ray Charles in the biographical film Ray (2004),",
"Did this film do well?",
"he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role.",
"What is Unpredictable/",
"his second studio album, Unpredictable,"
]
| C_c99997ffaaf64589b792e7b53ed56f3c_1 | How did this album do? | 4 | How did the album Unpredictable by Jamie Foxx do? | Jamie Foxx | In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached #1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to #1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind". Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the second male in history to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray (the only other male actor to achieve this feat being Al Pacino). In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences. Foxx released his second studio album, Unpredictable, in December 2005. It debuted at #2, selling 598,000 copies in its first week, rising to #1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at #9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a #1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video. At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris. Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood. CANNOTANSWER | It debuted at #2, selling 598,000 copies in its first week, rising to #1 the following week and selling an additional 200,000 copies. To date, the album has sold | Eric Marlon Bishop (born December 13, 1967), known professionally as Jamie Foxx, is an American actor, comedian, and singer. In 1991 he joined the cast as a featured player in the sketch comedy show In Living Color until the show's end in 1994. Following this success, Foxx was given his own television sitcom The Jamie Foxx Show, in which he starred, co-created and produced, airing for five highly rated seasons from 1996 to 2001 on The WB Television Network.
He subsequently became widely known for his portrayal of Ray Charles in the 2004 biographical film Ray, for which he won the Academy Award, BAFTA, Screen Actors Guild Award, Critics' Choice Movie Award and Golden Globe Award for Best Actor in a Leading Role, becoming the second actor to win all five major lead actor awards for the same performance. That same year, Foxx was nominated for the Academy Award for Best Supporting Actor for his role in the crime film Collateral. Since spring 2017, Foxx has served as the host and executive producer of the Fox game show Beat Shazam.
Other acting roles include Staff Sergeant Sykes in Jarhead (2005), record executive Curtis Taylor Jr. in Dreamgirls (2006), Detective Ricardo Tubbs in the 2006 film adaptation of TV series Miami Vice, Django Freeman in the film Django Unchained (2012), the supervillain Electro in The Amazing Spider-Man 2 (2014) and Marvel Studios' Spider-Man: No Way Home (2021), Will Stacks in Annie (2014), gangster Leon "Bats" Jefferson III in Baby Driver (2017) and as Walter McMillian in Just Mercy (2019), where he received a SAG Award nomination.
Foxx is also a Grammy Award-winning musician, producing four albums, which have charted in the top ten of the U.S. Billboard 200: Unpredictable (2005), which topped the chart, Intuition (2008), Best Night of My Life (2010), and Hollywood: A Story of a Dozen Roses (2015).
Early life and education
Eric Marlon Bishop was born on December 13, 1967, in Terrell, Texas. He is the son of Darrell Bishop (renamed Shahid Abdula following his conversion to Islam), who sometimes worked as a stockbroker, and Louise Annette Talley Dixon. Shortly after his birth, Foxx was adopted and raised by his mother's adoptive parents, Estelle Marie (Nelson), a domestic worker and nursery operator, and Mark Talley, a yard worker. He has had little contact with his birth parents, who were not part of his upbringing. Foxx was raised in the black quarter of Terrell, which at the time was a racially segregated community. He has often acknowledged his grandmother's influence in his life as one of the greatest reasons for his success.
Foxx began playing the piano when he was five years old. He had a strict Baptist upbringing, and as a teenager he was a part-time pianist and choir leader in Terrell's New Hope Baptist Church. His natural talent for telling jokes was already in evidence as a third grader, when his teacher would use him as a reward: if the class behaved well, Foxx would tell them jokes. Foxx attended Terrell High School, where he received top grades and played basketball and football (as quarterback). His ambition was to play for the Dallas Cowboys, and he was the first player in the school's history to pass for more than 1,000 yards. He also sang in a band called Leather and Lace. After completing high school, Foxx received a scholarship to United States International University, where he studied musical and performing arts composition.
Career
1989–2003: Beginnings and acting debut
Foxx first told jokes at a comedy club's open mic night in 1989, after accepting a girlfriend's dare. When he found that female comedians were often called first to perform, he changed his name to Jamie Foxx, feeling that it was a name ambiguous enough to disallow any biases. He chose his surname as a tribute to the black comedian Redd Foxx. Foxx joined the cast of In Living Color in 1991, where his recurrent character Wanda also shared a name with Redd's friend and co-worker, LaWanda Page. Following a recurring role in the comedy-drama sitcom Roc, Foxx went on to star in his own sitcom The Jamie Foxx Show, from 1996 to 2001, and he also produced through his company Foxx Hole Productions.
Foxx made his film debut in the 1992 comedy Toys. His first dramatic role came in Oliver Stone's 1999 film Any Given Sunday, where he was cast as a hard-partying quarterback, partly because of his own football background. During filming, Foxx fought with costar LL Cool J.
In 2001, Foxx starred opposite Will Smith in Michael Mann's biographical drama Ali. Three years later, Foxx played taxi driver Max Durocher in the Mann film Collateral alongside Tom Cruise, for which he received outstanding reviews and a nomination for the Academy Award for Best Supporting Actor.
In 1994, Foxx released an album (on the Fox record label) entitled Peep This, which was not commercially successful. In 2003, Foxx made a cameo in Benzino's music video for "Would You", which features LisaRaye McCoy and Mario Winans.
2003–2006: Ray, Unpredictable, and Dreamgirls
In 2003, Foxx featured on the rapper Twista's song, "Slow Jamz", together with Kanye West, which reached No. 1 on the US Billboard Hot 100 singles chart and #3 on the UK Singles chart. His second collaboration with Kanye West, "Gold Digger," in which Foxx sang the Ray Charles-influenced "I Got a Woman" hook, then went straight to No. 1 on the Billboard Hot 100, remaining there for 10 weeks. In 2005, Foxx featured on the single "Georgia" by Atlanta rappers Ludacris and Field Mob, which sampled Ray Charles' hit "Georgia on My Mind".
Foxx would also portray Ray Charles in the biographical film Ray (2004), for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor in a Leading Role. Foxx is the third male in history (after Barry Fitzgerald and Al Pacino) to receive two acting Oscar nominations in the same year for two different movies, Collateral and Ray. In 2005, Foxx was invited to join the Academy of Motion Picture Arts and Sciences.
Foxx released his second studio album, Unpredictable, in December 2005. It debuted at No. 2, selling 598,000 copies in its first week, rising to No. 1 the following week and selling an additional 200,000 copies. To date, the album has sold 1.98 million copies in the United States, and was certified double Platinum by the RIAA. The album also charted on the UK Albums Chart, where it peaked at No. 9. Foxx became the fourth artist to have both won an Academy Award for an acting role and to have achieved a No. 1 album in the U.S, joining Frank Sinatra, Bing Crosby and Barbra Streisand. Foxx's first single from the album, the title track "Unpredictable" (featuring Ludacris), peaked in the Billboard Hot 100 Top 10 singles and also made the UK Top 20 singles chart; the track samples "Wildflower" by New Birth. The second US single from the album was "DJ Play a Love Song," which reunited Foxx with Twista. In the UK, the second single was "Extravaganza", which saw Foxx once again collaborate with Kanye West, although Foxx did not feature in the song's music video.
At the 2006 Black Entertainment Television (BET) Awards, Foxx won Best Duet/Collaboration with Kanye West for "Gold Digger" and tied with Mary J. Blige's "Be Without You" for Video of the Year. On December 8, 2006, Foxx received four Grammy Award nominations, which included Best R&B Performance by a Duo or Group with Vocals for Love Changes featuring Mary J. Blige, Best R&B Album for Unpredictable, Best Rap Performance by a Duo or Group for Georgia by Ludacris & Field Mob featuring Jamie Foxx, and Best Rap/Sung Collaboration for Unpredictable featuring Ludacris.
Following on from these successes, Foxx went on to appear in the box-office hits Jarhead, Miami Vice and Dreamgirls, which lifted his profile even higher as a bankable star in Hollywood.
2007–2009: Intuition
2007 brought him the lead role in the action thriller film The Kingdom opposite Chris Cooper, Jason Bateman, Jennifer Garner and Ashraf Barhom. In September 2007, Foxx was awarded a star on the Hollywood Walk of Fame: "[it was] one of the most amazing days of my life," said Foxx. In April 2009, Foxx played the lead role in the dramatic film The Soloist. A few months later in October 2009, he played a starring role alongside Gerard Butler in the thriller Law Abiding Citizen. In 2007, his company FoxxKing Entertainment signed deals with MTV and VH1.
Foxx released his third album titled Intuition in 2008, featuring Kanye West, T.I., Ne-Yo, Lil' Kim and T-Pain. The album's first single, "Just Like Me" featuring T.I., was promoted by a video directed by Brett Ratner which featured an appearance by actress Taraji P. Henson. The second single "Blame It" featured T-Pain and became a top 5 single on the Billboard Hot 100 and a number-one single on the Billboard Hot R&B/Hip-Hop Songs chart. The "Blame It" music video, directed by Hype Williams, features cameo appearances by Forest Whitaker, Samuel L. Jackson, Ron Howard, Quincy Jones and his Jarhead co-star Jake Gyllenhaal, amongst others.
Foxx's musical career has also included a number of collaborations. In 2007, he recorded the song "She Goes All the Way" with country superstars Rascal Flatts for their Still Feels Good album. Foxx performed backing vocals for artist/songwriter Tank. He featured alongside The-Dream on Plies' "Please Excuse My Hands." He also appeared alongside Fabolous on the remix of Ne-Yo's "Miss Independent". Foxx collaborated with rapper The Game on the track "Around the World". Foxx also featured on T.I.'s single "Live in the Sky" from the album King.
On January 22, 2007, Foxx launched The Foxxhole, a channel on Sirius Satellite Radio featuring talk-radio programs, stand-up comedy albums and music primarily by African-American performers, as well as much of Foxx's own material. Foxx's own talk-radio variety program The Jamie Foxx Show airs Friday evenings on The Foxxhole with guests including musicians, actors and fellow comedians; co-hosts have included Johnny Mack, Speedy, Claudia Jordan, The Poetess, Lewis Dix, Yvette Wilson, T.D.P and Tyrin Turner. On the April 17, 2009 episode of The Jamie Foxx Show, Foxx and his co-hosts made several sexually suggestive and disparaging jokes regarding the teenage singer Miley Cyrus. Several days later Foxx issued a public apology on The Tonight Show with Jay Leno in response to growing public outcry and televised criticism by Cyrus's father, country singer Billy Ray Cyrus.
On April 6, 2009, Foxx, a longtime fan of country music, performed the George Strait song "You Look So Good in Love" at the George Strait Artist of the Decade All-Star Concert. Jamie Foxx hosted the 2009 BET Awards ceremony on June 28, 2009, which featured several tributes to pop star Michael Jackson, who had died three days prior to the show. As well as performing "Blame It" with T-Pain and "She Got Her Own" with Ne-Yo and Fabolous, Foxx opened the show with a rendition of Jackson's "Beat It" dance routine and closed the show with a cover of The Jackson 5's "I'll Be There" with Ne-Yo. "We want to celebrate this black man. He belongs to us and we shared him with everybody else.", said Foxx during the ceremony.
2010–2012: Best Night of My Life and Django Unchained
In April 2011, Foxx voiced the cartoon canary Nico in the movie Rio. During the summer of 2011, Foxx was involved as a producer of In the Flow with Affion Crockett on Fox.
Foxx released his fourth album, Best Night of My Life, on December 21, 2010, featuring the singles "Winner" (featuring Justin Timberlake and T.I.), "Living Better Now" (featuring rapper Rick Ross) and "Fall for Your Type" (featuring rapper Drake). On October 7, the RCA Music Group announced that it was disbanding J Records along with Arista Records and Jive Records, meaning that all artists (including Foxx) previously signed to the three labels will release their future material on the RCA Records brand. In 2011, Jamie Foxx also featured on the rapper Pitbull's album Planet Pit, in the song "Where Do We Go".
In 2012, Foxx starred in the title role of the Quentin Tarantino written and directed Django Unchained. Foxx starred alongside his Ray co-star Kerry Washington, as well as Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson. In an interview about Django Unchained, Foxx told Vibe magazine: "As a black person it's always racial. ... when I get home my other homies are like how was your day? Well, I only had to be white for at least eight hours today, [or] I only had to be white for four hours." The filming was emotional as Foxx said, "It's tough shooting when you're in plantation row and that's where your ancestors were persecuted and killed."
On November 25, 2012, at BET's Soul Train Awards, Foxx joked: "It's like church in here. First of all, giving honor to God and our lord and savior Barack Obama." The joke led to condemnation from some Christians, to which Foxx responded: "I'm a comic [and] sometimes I think people get a little too tight." While hosting Saturday Night Live on December 8, 2012, to promote Django Unchained, Foxx joked about being excited "to kill all the white people in the movie". Appearing at the 2013 NAACP Image Awards, Foxx praised the achievements of black people, saying that "black people are the most talented people in the world".
2013–present: White House Down, Baby Driver, Hollywood and Project Power
In 2013, Foxx was cast as President James Sawyer in White House Down alongside Channing Tatum. The following year, Foxx appeared in The Amazing Spider-Man 2 as the villain Electro, and co-starred with Quvenzhané Wallis in Annie, Sony's Will Smith and Jay-Z produced update of the comic strip-turned-musical. In 2017, Foxx starred as Bats, a trigger-happy gang member, in Edgar Wright's action film Baby Driver.
Foxx's October 2014 Deja Vu duet with Dionne Warwick appears on the Feels So Good album released by Warwick. He released his fifth studio album, Hollywood: A Story of a Dozen Roses, on May 18, 2015. It debuted atop the Top R&B/Hip-Hop Albums charts and at No. 10 on the Billboard 200. In 2015, Foxx's voice was featured in the chorus on the Ariana Grande song, "Focus".
Since its debut in 2017, Foxx has been the host and executive producer of the Fox game show Beat Shazam, whose premise is similar to the once-popular game show format Name That Tune. On the show, three sets of two partners try to beat the software application Shazam in correctly identifying the titles of popular songs for increasingly higher amounts of money, with one team eventually vying for a potential prize of $1 million. Foxx's daughter Corinne began co-hosting the show in its second season in 2018, replacing DJ October Gonzalez. The show has aired four seasons so far.
Foxx co-executive produced the 2017 Showtime sitcom White Famous, which starred Jay Pharoah as a young aspiring African-American comic, and was based on Foxx's own early career. Foxx also occasionally appeared on the show as himself. White Famous got middling reviews and ratings, and was cancelled after one season.
On May 22, 2019, Foxx appeared as George Jefferson in Live in Front of a Studio Audience: Norman Lear's All in the Family and The Jeffersons on ABC. That year, he played wrongly convicted death row prisoner Walter McMillian in the drama film Just Mercy, for which he received significant critical acclaim.
Foxx starred in Project Power, directed by Ariel Schulman and Henry Joost, opposite Joseph Gordon-Levitt and Dominique Fishback, which was released on August 14, 2020, by Netflix.
On November 13, 2019, Foxx was cast as the voice lead in the Pixar film Soul. Soul was set to be released theatrically on June 19, 2020, but due to the COVID-19 pandemic, Disney delayed the film's release to December 25, 2020, on Disney+.
In 2020, Foxx signed an overall deal with Sony Pictures Entertainment.
Foxx co-created, executive produced and starred in the 2021 Netflix sitcom Dad Stop Embarrassing Me!, in which he played the single father of two teenage girls. The series marked Foxx's return to the sitcom format after The Jamie Foxx Show ended in 2001. The entire eight-episode series premiered April 14, 2021 on Netflix. It was cancelled after one season.
He reprised his role as Electro in Spider-Man: No Way Home (2021), set in the Marvel Cinematic Universe.
In 2021, Foxx released the memoir Act Like You Got Some Sense: And Other Things My Daughters Taught Me, which focused on his family life, both as a child and as an adult.
Upcoming projects
On May 29, 2018, Foxx was cast as Al Simmons in a planned reboot of the Spawn film franchise, to be directed by Todd McFarlane. In 2015, Foxx became attached to portray former boxer Mike Tyson in a biographical drama film Finding Mike; in 2020, he began to exercise in order to gain muscle for the role. In 2021, the project turned into a miniseries, to be directed by Antoine Fuqua.
Legal issues
In April 2003, Foxx was involved in an incident with two police officers who were attempting to escort him and his sister out of Harrah's casino in New Orleans. Employees claimed the Foxx party had failed to show identification upon entry. Originally charged with trespassing, disturbing the peace, battery on police officers and resisting arrest, Foxx pleaded no contest to disturbing the peace in exchange for the other charges being dropped, and was sentenced to a six-month suspended jail term with two years of probation and a $1,500 fine.
Personal life
Foxx has two daughters: Corinne (born 1994) and Anelise (born August 2009). Corinne made her formal debut at the Bal des débutantes in November 2014 and was named Miss Golden Globe 2016 on November 18, 2015.
In 2008, Foxx filmed a public service announcement for Do Something to promote food drives in local communities.
From 2013 to 2019, Foxx was in a relationship with actress Katie Holmes.
On January 18, 2016, Foxx rescued a young man from a burning vehicle that crashed outside his home. The driver, Brett Kyle, was driving his truck "at a high rate of speed" when the truck left the road, traveled into a drainage ditch, and rolled over several times. Kyle was arrested for driving under the influence of alcohol.
On October 26, 2020, Foxx announced via Instagram that his 36-year-old sister Deondra Dixon had died. Dixon was born with Down syndrome and had been an ambassador for the Global Down Syndrome Foundation.
Filmography
Discography
Peep This (1994)
Unpredictable (2005)
Intuition (2008)
Best Night of My Life (2010)
Hollywood: A Story of a Dozen Roses (2015)
Tours
The Unpredictable Tour (2006)
The Blame It Tour (2009)
Stand-up specials
Jamie Foxx: Straight from the Foxxhole (1993)
Jamie Foxx: I Might Need Security (2002)
Jamie Foxx Unleashed: Lost, Stolen and Leaked! (2003)
Book
Foxx, Jamie (with Nick Chiles). Act Like You Got Some Sense: And Other Things My Daughters Taught Me. 2021: Grand Central Publishing. .
Accolades
See also
List of actors with Academy Award nominations
List of actors with two or more Academy Awards in acting categories
List of actors nominated for two Academy Awards in the same year
List of black Academy Award winners and nominees
List of black Golden Globe Award winners and nominees
References
External links
1967 births
Living people
20th-century American comedians
20th-century American male actors
20th-century American singers
21st-century American comedians
21st-century American male actors
21st-century American singers
African-American game show hosts
African-American male actors
African-American male comedians
African-American male singers
American adoptees
American comedy musicians
American contemporary R&B singers
American hip hop singers
American male comedians
American male film actors
American male singers
American male television actors
American stand-up comedians
Baptists from Texas
Best Actor Academy Award winners
Best Actor BAFTA Award winners
Best Musical or Comedy Actor Golden Globe (film) winners
Comedians from Texas
Grammy Award winners
Male actors from Texas
Method actors
Outstanding Performance by a Male Actor in a Leading Role Screen Actors Guild Award winners
People from Terrell, Texas
RCA Records artists
Singers from Texas
United States International University alumni | false | [
"\"This Is How We Do It\" is a 1995 song by Montell Jordan.\n\nThis Is How We Do It may also refer to:\n\n This Is How We Do It (album), by Montell Jordan\n \"This Is How We Do It\" (Grey's Anatomy), a 2011 episode\n\nSee also\n \"This Is How We Do\", a 2014 song by Katy Perry",
"\"How Do I Get Close\" is a song released by the British rock group, the Kinks. Released on the band's critically panned LP, UK Jive, the song was written by the band's main songwriter, Ray Davies.\n\nRelease and reception\n\"How Do I Get Close\" was first released on the Kinks' album UK Jive. UK Jive failed to make an impression on fans and critics alike, as the album failed to chart in the UK and only reached No. 122 in America. However, despite the failure of the album and the lead UK single, \"Down All the Days (Till 1992)\", \"How Do I Get Close\" was released as the second British single from the album, backed with \"Down All the Days (Till 1992)\". The single failed to chart. The single was also released in America (backed with \"War is Over\"), where, although it did not chart on the Billboard Hot 100, it hit No. 21 on the Mainstream Rock Tracks chart, the highest on that chart since \"Working At The Factory\" in 1986. \"How Do I Get Close\" also appeared on the compilation album Lost & Found (1986-1989).\n\nStephen Thomas Erlewine cited \"How Do I Get Close\" as a highlight from both UK Jive and Lost & Found (1986-1989).\n\nReferences\n\nThe Kinks songs\n1990 singles\nSongs written by Ray Davies\nSong recordings produced by Ray Davies\n1989 songs\nMCA Records singles"
]
|
[
"British people",
"Union and the development of Britishness"
]
| C_a479cbb94c45445996c5347a9527d23e_0 | Who became united? | 1 | What British people became united to develop Britishness? | British people | Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures--the Bill of Rights 1689 and Claim of Right Act 1689 respectively--which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations. While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet--the colony of New Caledonia--on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost. The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme. CANNOTANSWER | the Kingdoms of England and Scotland | The British people or Britons, also known colloquially as Brits, are the citizens of the United Kingdom of Great Britain and Northern Ireland, the British Overseas Territories, and the Crown dependencies. British nationality law governs modern British citizenship and nationality, which can be acquired, for instance, by descent from British nationals. When used in a historical context, "British" or "Britons" can refer to the Ancient Britons, the indigenous inhabitants of Great Britain and Brittany, whose surviving members are the modern Welsh people, Cornish people, and Bretons. It also refers to citizens of the former British Empire, who settled in the country prior to 1973, and hold neither UK citizenship nor nationality.
Though early assertions of being British date from the Late Middle Ages, the Union of the Crowns in 1603 and the creation of the Kingdom of Great Britain in 1707 triggered a sense of British national identity. The notion of Britishness and a shared British identity was forged during the 18th century and early 19th century when Britain engaged in several global conflicts with France, and developed further during the Victorian era. The complex history of the formation of the United Kingdom created a "particular sense of nationhood and belonging" in Great Britain and Ireland; Britishness became "superimposed on much older identities", of English, Scots, Welsh, and Irish cultures, whose distinctiveness still resists notions of a homogenised British identity. Because of longstanding ethno-sectarian divisions, British identity in Northern Ireland is controversial, but it is held with strong conviction by Unionists.
Modern Britons are descended mainly from the varied ethnic groups that settled in Great Britain in and before the 11th century: Prehistoric, Brittonic, Roman, Anglo-Saxon, Norse, and Normans. The progressive political unification of the British Isles facilitated migration, cultural and linguistic exchange, and intermarriage between the peoples of England, Scotland and Wales during the late Middle Ages, early modern period and beyond. Since 1922 and earlier, there has been immigration to the United Kingdom by people from what is now the Republic of Ireland, the Commonwealth, mainland Europe and elsewhere; they and their descendants are mostly British citizens, with some assuming a British, dual or hyphenated identity. This includes the groups Black British and Asian British people, which together constitute around 10% of the British population.
The British are a diverse, multinational, multicultural and multilingual society, with "strong regional accents, expressions and identities". The social structure of the United Kingdom has changed radically since the 19th century, with a decline in religious observance, enlargement of the middle class, and increased ethnic diversity, particularly since the 1950s, when citizens of the British Empire were encouraged to immigrate to Britain to work as part of the recovery from World War II. The population of the UK stands at around 66 million, with a British diaspora of around 140 million concentrated in the United States, Australia, Canada, and New Zealand, with smaller concentrations in the Republic of Ireland, Chile, South Africa, and parts of the Caribbean.
History of the term
The earliest known reference to the inhabitants of Great Britain may have come from 4th century BC records of the voyage of Pytheas, a Greek geographer who made a voyage of exploration around the British Isles. Although none of his own writings remain, writers during the time of the Roman Empire made much reference to them. Pytheas called the islands collectively (hai Brettaniai), which has been translated as the Brittanic Isles, and the peoples of what are today England, Wales, Scotland and the Isle of Man of Prettanike were called the (Prettanoi), Priteni, Pritani or Pretani.
The group included Ireland, which was referred to as Ierne (Insula sacra "sacred island" as the Greeks interpreted it) "inhabited by the different race of Hiberni" (gens hibernorum), and Britain as insula Albionum, "island of the Albions". The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.
Greek and Roman writers, in the 1st century BC and the 1st century AD, name the inhabitants of Great Britain and Ireland as the Priteni, the origin of the Latin word Britanni. It has been suggested that this name derives from a Gaulish description translated as "people of the forms", referring to the custom of tattooing or painting their bodies with blue woad made from Isatis tinctoria. Parthenius, a 1st-century Ancient Greek grammarian, and the Etymologicum Genuinum, a 9th-century lexical encyclopaedia, mention a mythical character Bretannus (the Latinised form of the , Brettanós) as the father of Celtine, mother of Celtus, the eponymous ancestor of the Celts.
By 50 BC Greek geographers were using equivalents of Prettanikē as a collective name for the British Isles. However, with the Roman conquest of Britain the Latin term Britannia was used for the island of Great Britain, and later Roman-occupied Britain south of Caledonia (modern day Scotland north of the rivers Forth & Clyde), although the people of Caledonia and the north were also the self same Britons during the Roman period, the Gaels arriving four centuries later. Following the end of Roman rule in Britain, the island of Great Britain was left open to invasion by pagan, seafaring warriors such as Germanic-speaking Anglo-Saxons and Jutes from Continental Europe, who gained control in areas around the south east, and to Middle Irish-speaking people migrating from what is today Northern Ireland to the north of Great Britain (modern Scotland), founding Gaelic kingdoms such as Dál Riata and Alba, which would eventually subsume the native Brittonic and Pictish kingdoms and become Scotland.
In this sub-Roman Britain, as Anglo-Saxon culture spread across southern and eastern Britain and Gaelic through much of the north, the demonym "Briton" became restricted to the Brittonic-speaking inhabitants of what would later be called Wales, Cornwall, North West England (Cumbria), and a southern part of Scotland(Strathclyde). In addition the term was also applied to Brittany in what is today France and Britonia in north west Spain, both regions having been colonised by Britons in the 5th century fleeing the Anglo-Saxon invasions. However, the term Britannia persisted as the Latin name for the island. The Historia Brittonum claimed legendary origins as a prestigious genealogy for Brittonic kings, followed by the Historia Regum Britanniae which popularised this pseudo-history to support the claims of the Kings of England.
During the Middle Ages, and particularly in the Tudor period, the term "British" was used to refer to the Welsh people and Cornish people. At that time, it was "the long held belief that these were the remaining descendants of the Britons and that they spoke 'the British tongue. This notion was supported by texts such as the Historia Regum Britanniae, a pseudohistorical account of ancient British history, written in the mid-12th century by Geoffrey of Monmouth. The Historia Regum Britanniae chronicled the lives of legendary kings of the Britons in a narrative spanning 2000 years, beginning with the Trojans founding the ancient British nation and continuing until the Anglo-Saxon settlement of Britain in the 7th century forced the Britons to the west, i.e. Wales and Cornwall, and north, i.e. Cumbria, Strathclyde and northern Scotland. This legendary Celtic history of Great Britain is known as the Matter of Britain. The Matter of Britain, a national myth, was retold or reinterpreted in works by Gerald of Wales, a Cambro-Norman chronicler who in the 12th and 13th centuries used the term British to refer to the people later known as the Welsh.
History
Ancestral roots
The indigenous people of the British Isles have a combination of Celtic, Anglo-Saxon, Norse and Norman ancestry.
Between the 8th and 11th centuries, "three major cultural divisions" had emerged in Great Britain: the English, the Scots and the Welsh, the earlier Brittonic Celtic polities in what are today England and Scotland having finally been absorbed into Anglo-Saxon England and Gaelic Scotland by the early 11th century. The English had been unified under a single nation state in 937 by King Athelstan of Wessex after the Battle of Brunanburh. Before then, the English (known then in Old English as the Anglecynn) were under the governance of independent Anglo-Saxon petty kingdoms which gradually coalesced into a Heptarchy of seven powerful states, the most powerful of which were Mercia and Wessex. Scottish historian and archaeologist Neil Oliver said that the Battle of Brunanburh would "define the shape of Britain into the modern era", it was a "showdown for two very different ethnic identities – a Norse Celtic alliance versus Anglo Saxon. It aimed to settle once and for all whether Britain would be controlled by a single imperial power or remain several separate independent kingdoms, a split in perceptions which is still very much with us today". However, historian Simon Schama suggested that it was Edward I of England who was solely "responsible for provoking the peoples of Britain into an awareness of their nationhood" in the 13th century. Schama hypothesised that Scottish national identity, "a complex amalgam" of Gaelic, Brittonic, Pictish, Norsemen and Anglo-Norman origins, was not finally forged until the Wars of Scottish Independence against the Kingdom of England in the late 13th and early 14th centuries.
Though Wales was conquered by England, and its legal system replaced by that of the Kingdom of England under the Laws in Wales Acts 1535–1542, the Welsh endured as a nation distinct from the English, and to some degree the Cornish people, although conquered into England by the 11th century, also retained a distinct Brittonic identity and language. Later, with both an English Reformation and a Scottish Reformation, Edward VI of England, under the counsel of Edward Seymour, 1st Duke of Somerset, advocated a union with the Kingdom of Scotland, joining England, Wales, and Scotland in a united Protestant Great Britain. The Duke of Somerset supported the unification of the English, Welsh and Scots under the "indifferent old name of Britons" on the basis that their monarchies "both derived from a Pre-Roman British monarchy".
Following the death of Elizabeth I of England in 1603, the throne of England was inherited by James VI, King of Scots, so that the Kingdom of England and the Kingdom of Scotland were united in a personal union under James VI of Scotland and I of England, an event referred to as the Union of the Crowns. King James advocated full political union between England and Scotland, and on 20 October 1604 proclaimed his assumption of the style "King of Great Britain", though this title was rejected by both the Parliament of England and the Parliament of Scotland, and so had no basis in either English law or Scots law.
Union and the development of Britishness
Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures—the Bill of Rights 1689 and Claim of Right Act 1689 respectively—which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations.
While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet—the colony of New Caledonia—on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost.
The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme.
Union of Scotland and England
Despite opposition from within both Scotland and England, a Treaty of Union was agreed in 1706 and was then ratified by the parliaments of both countries with the passing of the Acts of Union 1707. With effect from 1 May 1707, this created a new sovereign state called the "Kingdom of Great Britain". This kingdom "began as a hostile merger", but led to a "full partnership in the most powerful going concern in the world"; historian Simon Schama stated that "it was one of the most astonishing transformations in European history".
After 1707, a British national identity began to develop, though it was initially resisted, particularly by the English. The peoples of Great Britain had by the 1750s begun to assume a "layered identity": to think of themselves as simultaneously British and also Scottish, English, or Welsh.
The terms North Briton and South Briton were devised for the Scots and the English respectively, with the former gaining some preference in Scotland, particularly by the economists and philosophers of the Scottish Enlightenment. Indeed, it was the "Scots [who] played key roles in shaping the contours of British identity"; "their scepticism about the Union allowed the Scots the space and time in which
to dominate the construction of Britishness in its early crucial years", drawing upon the notion of a shared "spirit of liberty common to both Saxon and Celt ... against the usurpation of the Church of Rome". James Thomson was a poet and playwright born to a Church of Scotland minister in the Scottish Lowlands in 1700 who was interested in forging a common British culture and national identity in this way. In collaboration with Thomas Arne, they wrote Alfred, an opera about Alfred the Great's victory against the Vikings performed to Frederick, Prince of Wales in 1740 to commemorate the accession of George I and the birthday of Princess Augusta. "Rule, Britannia!" was the climactic piece of the opera and quickly became a "jingoistic" British patriotic song celebrating "Britain's supremacy offshore". An island country with a series of victories for the Royal Navy associated empire and naval warfare "inextricably with ideals of Britishness and Britain's place in the world".
Britannia, the new national personification of Great Britain, was established in the 1750s as a representation of "nation and empire rather than any single national hero". On Britannia and British identity, historian Peter Borsay wrote:
From the Union of 1707 through to the Battle of Waterloo in 1815, Great Britain was "involved in successive, very dangerous wars with Catholic France", but which "all brought enough military and naval victories ... to flatter British pride". As the Napoleonic Wars with the First French Empire advanced, "the English and Scottish learned to define themselves as similar primarily by virtue of not being French or Catholic". In combination with sea power and empire, the notion of Britishness became more "closely bound up with Protestantism", a cultural commonality through which the English, Scots and Welsh became "fused together, and remain[ed] so, despite their many cultural divergences".
The neo-classical monuments that proliferated at the end of the 18th century and the start of the 19th century, such as The Kymin at Monmouth, were attempts to meld the concepts of Britishness with the Greco-Roman empires of classical antiquity. The new and expanding British Empire provided "unprecedented opportunities for upward mobility and the accumulations of wealth", and so the "Scottish, Welsh and Irish populations were prepared to suppress nationalist issues on pragmatic grounds". The British Empire was "crucial to the idea of a British identity and to the self-image of Britishness". Indeed, the Scottish welcomed Britishness during the 19th century "for it offered a context within which they could hold on to their own identity whilst participating in, and benefiting from, the expansion of the [British] Empire". Similarly, the "new emphasis of Britishness was broadly welcomed by the Welsh who considered themselves to be the lineal descendants of the ancient Britons – a word that was still used to refer exclusively to the Welsh". For the English, however, by the Victorian era their enthusiastic adoption of Britishness had meant that, for them, Britishness "meant the same as 'Englishness'", so much so that "Englishness and Britishness" and "'England' and 'Britain' were used interchangeably in a variety of contexts". Britishness came to borrow heavily from English political history because England had "always been the dominant component of the British Isles in terms of size, population and power"; Magna Carta, common law and hostility to continental Europe were English factors that influenced British sensibilities.
Union with Ireland
The political union in 1800 of the predominantly Catholic Kingdom of Ireland with Great Britain, coupled with the outbreak of peace with France in the early 19th century, challenged the previous century's concept of militant Protestant Britishness. The new, expanded United Kingdom of Great Britain and Ireland meant that the state had to re-evaluate its position on the civil rights of Catholics, and extend its definition of Britishness to the Irish people. Like the terms that had been invented at the time of the Acts of Union 1707, "West Briton" was introduced for the Irish after 1800. In 1832 Daniel O'Connell, an Irish politician who campaigned for Catholic Emancipation, stated in Britain's House of Commons:
Ireland, from 1801 to 1923, was marked by a succession of economic and political mismanagement and neglect, which marginalised the Irish, and advanced Irish nationalism. In the forty years that followed the Union, successive British governments grappled with the problems of governing a country which had as Benjamin Disraeli, a staunch anti-Irish and anti-Catholic member of the Conservative party with a virulent racial and religious prejudice towards Ireland put it in 1844, "a starving population, an absentee aristocracy, and an alien Church, and in addition the weakest executive in the world". Although the vast majority of Unionists in Ireland proclaimed themselves "simultaneously Irish and British", even for them there was a strain upon the adoption of Britishness after the Great Famine.
War continued to be a unifying factor for the people of Great Britain: British jingoism re-emerged during the Boer Wars in southern Africa. The experience of military, political and economic power from the rise of the British Empire led to a very specific drive in artistic technique, taste and sensibility for Britishness. In 1887, Frederic Harrison wrote:
The Catholic Relief Act 1829 reflected a "marked change in attitudes" in Great Britain towards Catholics and Catholicism. A "significant" example of this was the collaboration between Augustus Welby Pugin, an "ardent Roman Catholic" and son of a Frenchman, and Sir Charles Barry, "a confirmed Protestant", in redesigning the Palace of Westminster—"the building that most enshrines ... Britain's national and imperial pre-tensions". Protestantism gave way to imperialism as the leading element of British national identity during the Victorian and Edwardian eras, and as such, a series of royal, imperial and national celebrations were introduced to the British people to assert imperial British culture and give themselves a sense of uniqueness, superiority and national consciousness. Empire Day and jubilees of Queen Victoria were introduced to the British middle class, but quickly "merged into a national 'tradition'".
Modern period
The First World War "reinforced the sense of Britishness" and patriotism in the early 20th century. Through war service (including conscription in Great Britain), "the English, Welsh, Scots and Irish fought as British". The aftermath of the war institutionalised British national commemoration through Remembrance Sunday and the Poppy Appeal. The Second World War had a similar unifying effect upon the British people, however, its outcome was to recondition Britishness on a basis of democratic values and its marked contrast to Europeanism. Notions that the British "constituted an Island race, and that it stood for democracy were reinforced during the war and they were circulated in the country through Winston Churchill's speeches, history books and newspapers".
At its international zenith, "Britishness joined peoples around the world in shared traditions and common loyalties that were strenuously maintained". But following the two world wars, the British Empire experienced rapid decolonisation. The secession of the Irish Free State from the United Kingdom meant that Britishness had lost "its Irish dimension" in 1922, and the shrinking empire supplanted by independence movements dwindled the appeal of British identity in the Commonwealth of Nations during the mid-20th century.
Since the British Nationality Act 1948 and the subsequent mass immigration to the United Kingdom from the Commonwealth and elsewhere in the world, "the expression and experience of cultural life in Britain has become fragmented and reshaped by the influences of gender, ethnicity, class and region". Furthermore, the United Kingdom's membership of the European Economic Community in 1973 eroded the concept of Britishness as distinct from continental Europe. As such, since the 1970s "there has been a sense of crisis about what it has meant to be British", exacerbated by growing demands for greater political autonomy for Northern Ireland, Scotland, and Wales.
The late 20th century saw major changes to the politics of the United Kingdom with the establishment of devolved national administrations for Northern Ireland, Scotland, and Wales following pre-legislative referendums. Calls for greater autonomy for the four countries of the United Kingdom had existed since their original union with each other, but gathered pace in the 1960s and 1970s. Devolution has led to "increasingly assertive Scottish, Welsh and Irish national identities", resulting in more diverse cultural expressions of Britishness, or else its outright rejection: Gwynfor Evans, a Welsh nationalist politician active in the late 20th century, rebuffed Britishness as "a political synonym for Englishness which extends English culture over the Scots, Welsh and the Irish".
In 2004 Sir Bernard Crick, political theorist and democratic socialist tasked with developing the life in the United Kingdom test said:
Gordon Brown initiated a debate on British identity in 2006. Brown's speech to the Fabian Society's Britishness Conference proposed that British values demand a new constitutional settlement and symbols to represent a modern patriotism, including a new youth community service scheme and a British Day to celebrate. One of the central issues identified at the Fabian Society conference was how the English identity fits within the framework of a devolved United Kingdom. An expression of Her Majesty's Government's initiative to promote Britishness was the inaugural Veterans' Day which was first held on 27 June 2006. As well as celebrating the achievements of armed forces veterans, Brown's speech at the first event for the celebration said:
In 2018, the Windrush scandal illustrated complex developments in British peoplehood, when it was revealed hundreds of Britons had been wrongfully deported. With roots in the break-up of the empire, and post-war rebuilding; the Windrush generation had arrived as CUKC citizens in the 1950s and 1960s. Born in former British colonies, they settled in the UK before 1973, and were granted “right of abode” by the Immigration Act 1971. Having faced removal, or been deported, many British people of African Caribbean heritage suffered with loss of home, livelihood, and health. As a result of the political scandal, many institutions and elected politicians publicly affirmed that these individuals, while not legally holding British citizenship or nationality, were, in fact, British people. These included British Prime Minister Theresa May, London Mayor Sadiq Khan, Her Majesty's CPS Inspectorate Wendy Williams and her House of Commons-ordered Windrush Lessons Learned Review, the Chartered Institute of Housing, Amnesty International, University of Oxford's social geographer Danny Dorling, and other public figures.
Geographic distribution
The earliest migrations of Britons date from the 5th and 6th centuries AD, when Brittonic Celts fleeing the Anglo-Saxon invasions migrated what is today northern France and north western Spain and forged the colonies of Brittany and Britonia. Brittany remained independent of France until the early 16th century and still retains a distinct Brittonic culture and language, whilst Britonia in modern Galicia was absorbed into Spanish states by the end of the 9th century AD.
Britons – people with British citizenship or of British descent – have a significant presence in a number of countries other than the United Kingdom, and in particular in those with historic connections to the British Empire. After the Age of Discovery, the British were one of the earliest and largest communities to emigrate out of Europe, and the British Empire's expansion during the first half of the 19th century triggered an "extraordinary dispersion of the British people", resulting in particular concentrations "in Australasia and North America".
The British Empire was "built on waves of migration overseas by British people", who left the United Kingdom and "reached across the globe and permanently affected population structures in three continents". As a result of the British colonisation of the Americas, what became the United States was "easily the greatest single destination of emigrant British", but in Australia the British experienced a birth rate higher than "anything seen before", resulting in the displacement of indigenous Australians.
In colonies such as Southern Rhodesia, British East Africa and Cape Colony, permanently resident British communities were established and whilst never more than a numerical minority, these Britons "exercised a dominant influence" upon the culture and politics of those lands. In Australia, Canada and New Zealand, "people of British origin came to constitute the majority of the population" contributing to these states becoming integral to the Anglosphere.
The United Kingdom Census 1861 estimated the size of the overseas British to be around 2.5 million, but concluded that most of these were "not conventional settlers" but rather "travellers, merchants, professionals, and military personnel". By 1890, there were over 1.5 million further UK-born people living in Australia, Canada, New Zealand and South Africa. A 2006 publication from the Institute for Public Policy Research estimated 5.6 million Britons lived outside of the United Kingdom.
Outside of the United Kingdom and its Overseas Territories, the largest proportions of people of self-identified ethnic British descent in the world are found in New Zealand (59%), Australia (46%) and Canada (31%), followed by a considerably smaller minority in the United States (10.7%) and parts of the Caribbean. Hong Kong has the highest proportion of British citizens outside of the United Kingdom and its Overseas Territories, with 47% of Hong Kong residents holding a British National (Overseas) citizenship or a British citizenship.
Australia
From the beginning of Australia's colonial period until after the Second World War, people from the United Kingdom made up a large majority of people coming to Australia, meaning that many people born in Australia can trace their origins to Britain. The colony of New South Wales, founded on 26 January 1788, was part of the eastern half of Australia claimed by the Kingdom of Great Britain in 1770, and initially settled by Britons through penal transportation. Together with another five largely self-governing Crown Colonies, the federation of Australia was achieved on 1 January 1901.
Its history of British dominance meant that Australia was "grounded in British culture and political traditions that had been transported to the Australian colonies in the nineteenth century and become part of colonial culture and politics". Australia maintains the Westminster system of Parliamentary Government and Elizabeth II as Queen of Australia. Until 1987, the national status of Australian citizens was formally described as "British Subject: Citizen of Australia". Britons continue to make up a substantial proportion of immigrants.
By 1947, Australia was fundamentally British in origin with 7,524,129 or 99.3% of the population declaring themselves as European. In the most recent 2016 census, a large proportion of Australians self-identified with British ancestral origins, including 36.1% or 7,852,224 as English and 9.3% (2,023,474) as Scottish alone. A substantial proportion —33.5%— chose to identify as ‘Australian’, the census Bureau has stated that most of these are of Anglo-Celtic colonial stock.
All 6 states of Australia retain the Union Jack in the canton of their respective flags.
British Overseas Territories
The approximately 250,000 people of the British Overseas Territories are British by citizenship, via origins or naturalisation. Along with aspects of common British identity, each of them has their own distinct identity shaped in the respective particular circumstances of political, economic, ethnic, social and cultural history. For instance, in the case of the Falkland Islanders, Lewis Clifton the Speaker of the Legislative Council of the Falkland Islands, explains:
In contrast, for the majority of the Gibraltarians, who live in Gibraltar, there is an "insistence on their Britishness" which "carries excessive loyalty" to Britain. The sovereignty of Gibraltar has been a point of contention in Spain–United Kingdom relations, but an overwhelming number of Gibraltarians embrace Britishness with strong conviction, in direct opposition to Spanish territorial claims.
Canada
Canada traces its statehood to the French, English, and Scottish expeditions of North America from the late-15th century. France ceded nearly all of New France in 1763 after the Seven Years' War, and so after the United States Declaration of Independence in 1776, Quebec and Nova Scotia formed "the nucleus of the colonies that constituted Britain's remaining stake on the North American continent". British North America attracted the United Empire Loyalists, Britons who migrated out of what they considered the "rebellious" United States, increasing the size of British communities in what was to become Canada.
In 1867 there was a union of three colonies with British North America which together formed the Canadian Confederation, a federal dominion. This began an accretion of additional provinces and territories and a process of increasing autonomy from the United Kingdom, highlighted by the Statute of Westminster 1931 and culminating in the Canada Act 1982, which severed the vestiges of legal dependence on the parliament of the United Kingdom. Nevertheless, it is recognised that there is a "continuing importance of Canada's long and close relationship with Britain"; large parts of Canada's modern population claim "British origins" and the cultural impact of the British upon Canada's institutions is profound.
It was not until 1977 that the phrase "A Canadian citizen is a British subject" ceased to be used in Canadian passports. The politics of Canada are strongly influenced by British political culture. Although significant modifications have been made, Canada is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as The Queen of Canada and Head of State. English is the most commonly spoken language used in Canada and it is an official language of Canada.
British iconography remains present in the design of many Canadian flags, with 10 out of 13 Canadian provincial and territorial flags adopting some form of British symbolism in their design. The Union Jack is also an official ceremonial flag in Canada known as the Royal Union Flag which is flown outside of federal buildings three days of the year.
New Zealand
A long-term result of James Cook's voyage of 1768–1771, a significant number of New Zealanders are of British descent, for whom a sense of Britishness has contributed to their identity. As late as the 1950s, it was common for British New Zealanders to refer to themselves as British, such as when Prime Minister Keith Holyoake described Sir Edmund Hillary's successful ascent of Mount Everest as putting "the British race and New Zealand on top of the world". New Zealand passports described nationals as "British Subject: Citizen of New Zealand" until 1974, when this was changed to "New Zealand citizen".
In an interview with the New Zealand Listener in 2006, Don Brash, the then Leader of the Opposition, said:
The politics of New Zealand are strongly influenced by British political culture. Although significant modifications have been made, New Zealand is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as the head of the monarchy of New Zealand. English is the dominant official language used in New Zealand.
Hong Kong
British nationality law as it pertains to Hong Kong has been unusual ever since Hong Kong became a British colony in 1842. From its beginning as a sparsely populated trading port to its modern role as a cosmopolitan international financial centre of over seven million people, the territory has attracted refugees, immigrants and expatriates alike searching for a new life.
Citizenship matters were complicated by the fact that British nationality law treated those born in Hong Kong as British subjects (although they did not enjoy full rights and citizenship), while the People's Republic of China (PRC) did not recognise Hong Kong Chinese as such. The main reason for this was that recognising these people as British was seen as a tacit acceptance of a series of historical treaties that the PRC labelled as "unequal", including the ones which ceded Hong Kong Island, the Kowloon Peninsula and the New Territories to Britain. The British government, however, recognising the unique political situation of Hong Kong, granted 3.4 million Hong Kongers a new type of nationality known as British National (Overseas), which is established in accordance with the Hong Kong Act 1985. Among those 3.4 million people, there are many British Nationals (Overseas) who are eligible for full British citizenship. Both British Nationals (Overseas) and British citizens are British nationals and Commonwealth citizens according to the British Nationality Law, which enables them to various rights in the United Kingdom and the European Union.
United States
An English presence in North America began with the Roanoke Colony and Colony of Virginia in the late-16th century, but the first successful English settlement was established in 1607, on the James River at Jamestown. By the 1610s an estimated 1,300 English people had travelled to North America, the "first of many millions from the British Isles". In 1620, the Pilgrims established the English imperial venture of Plymouth Colony, beginning "a remarkable acceleration of permanent emigration from England" with over 60% of trans-Atlantic English migrants settling in the New England Colonies. During the 17th century, an estimated 350,000 English and Welsh migrants arrived in North America, which in the century after the Acts of Union 1707 was surpassed in rate and number by Scottish and Irish migrants.
The British policy of salutary neglect for its North American colonies intended to minimise trade restrictions as a way of ensuring they stayed loyal to British interests. This permitted the development of the American Dream, a cultural spirit distinct from that of its European founders. The Thirteen Colonies of British America began an armed rebellion against British rule in 1775 when they rejected the right of the Parliament of Great Britain to govern them without representation; they proclaimed their independence in 1776, and constituted the first thirteen states of the United States of America, which became a sovereign state in 1781 with the ratification of the Articles of Confederation. The 1783 Treaty of Paris represented Great Britain's formal acknowledgement of the United States' sovereignty at the end of the American Revolutionary War.
Nevertheless, longstanding cultural and historical ties have, in more modern times, resulted in the Special Relationship, the historically close political, diplomatic, and military co-operation between the United Kingdom and United States. Linda Colley, a professor of history at Princeton University and specialist in Britishness, suggested that because of their colonial influence on the United States, the British find Americans a "mysterious and paradoxical people, physically distant but culturally close, engagingly similar yet irritatingly different".
For over two centuries (1789-1989) of early U.S. history, all Presidents with the exception of two (Van Buren and Kennedy) were descended from the varied colonial British stock, from the Pilgrims and Puritans to the Scotch-Irish and English who settled the Appalachia.
The largest concentrations of self-reported British ethnic ancestry in the United States were found to be in Utah (35%), Maine (30%), New Hampshire (25%) and Vermont (25%) at the 2015 American Community Survey. Overall, 10.7% of Americans reported their ethnic ancestry as some form of "British" in the 2013–17 ACS, behind German and African ancestries and on par with Mexican and Irish ancestries.
Chile
Approximately 4% of Chile's population is of British or Irish descent. Over 50,000 British immigrants settled in Chile from 1840 to 1914. A significant number of them settled in Magallanes Province, especially in the city of Punta Arenas when it flourished as a major global seaport for ships crossing between the Atlantic and Pacific Oceans through the Strait of Magellan. Around 32,000 English settled in Valparaíso, influencing the port city to the extent of making it virtually a British colony during the last decades of the 19th century and the beginning of the 20th century. However, the opening of the Panama Canal in 1914 and the outbreak of the First World War drove many of them away from the city or back to Europe.
In Valparaíso, they created their largest and most important colony, bringing with them neighbourhoods of British character, schools, social clubs, sports clubs, business organisations and periodicals. Even today their influence is apparent in specific areas, such as the banks and the navy, as well as in certain social activities, such as football, horse racing, and the custom of drinking tea.
During the movement for independence (1818), it was mainly the British who formed the Chilean Navy, under the command of Lord Cochrane.
British investment helped Chile become prosperous and British seamen helped the Chilean navy become a strong force in the South Pacific. Chile won two wars, the first against the Peru-Bolivian Confederation and the second, the War of the Pacific, in 1878–79, against an alliance between Peru and Bolivia. The liberal-socialist "Revolution of 1891" introduced political reforms modelled on British parliamentary practice and lawmaking.
British immigrants were also important in the northern zone of the country during the saltpetre boom, in the ports of Iquique and Pisagua. The "King of Saltpetre", John Thomas North, was the principal tycoon of nitrate mining. The British legacy is reflected in the streets of the historic district of the city of Iquique, with the foundation of various institutions, such as the Club Hípico (Racing Club). Nevertheless, the British active presence came to an end with the saltpetre crisis during the 1930s.
Some Scots settled in the country's more temperate regions, where the climate and the forested landscape with glaciers and islands may have reminded them of their homeland (the Highlands and Northern Scotland) while English and Welsh made up the rest. The Irish immigrants, who were frequently confused with the British, arrived as merchants, tradesmen and sailors, settling along with the British in the main trading cities and ports.
An important contingent of British (principally Welsh) immigrants arrived between 1914 and 1950, settling in the present-day region of Magallanes. British families were established in other areas of the country, such as Santiago, Coquimbo, the Araucanía, and Chiloé.
The cultural legacy of the British in Chile is notable and has spread beyond the British Chilean community into society at large. Customs taken from the British include afternoon tea (called onces by Chileans), football, rugby union and horse racing. Another legacy is the widespread use of British personal names by Chileans.
Chile has the largest population of descendants of British settlers in Latin America. Over 700,000 Chileans may have British (English, Scottish and Welsh) origin, amounting to 4.5% of Chile's population.
South Africa
The British arrived in the area which would become the modern-day South Africa during the early 18th century, yet substantial settlement only started end of the 18th century, in the Cape of Good Hope; the British first explored the area for conquests for or related to the Slave Trade. In the late 19th century, the discovery of gold and diamonds further encouraged colonisation of South Africa by the British, and the population of the British-South Africans rose substantially, although there was fierce rivalry between the British and Afrikaners (descendants of Dutch colonists) in the period known as the Boer Wars. When apartheid first started most British-South Africans were mostly keen on keeping and even strengthening its ties with the United Kingdom. The latest census in South Africa showed that there are almost 2 million British-South Africans; they make up about 40% of the total White South African demographic, and the greatest white British ancestry populations in South Africa are in the KwaZulu-Natal province and in the cities of Cape Town, Durban and Port Elizabeth.
Ireland
Plantations of Ireland introduced large numbers of people from Great Britain to Ireland throughout the Middle Ages and early modern period. The resulting Protestant Ascendancy, the aristocratic class of the Lordship of Ireland, broadly identified themselves as Anglo-Irish. In the sixteenth and seventeenth centuries, Protestant British settlers subjugated Catholic, Gaelic inhabitants in the north of Ireland during the Plantation of Ulster and the Williamite War in Ireland; it was "an explicit attempt to control Ireland strategically by introducing ethnic and religious elements loyal to the British interest in Ireland".
The Ulster Scots people are an ethnic group of British origin in Ireland, broadly descended from Lowland Scots who settled in large numbers in the Province of Ulster during the planned process of colonisations of Ireland which took place in the reign of James VI of Scotland and I of England. Together with English and Welsh settlers, these Scots introduced Protestantism (particularly the Presbyterianism of the Church of Scotland) and the Ulster Scots and English languages to, mainly, northeastern Ireland. With the partition of Ireland and independence for what is now the Republic of Ireland some of these people found themselves no longer living within the United Kingdom.
Northern Ireland itself was, for many years, the site of a violent and bitter ethno-sectarian conflict—The Troubles—between those claiming to represent Irish nationalism, who are predominantly Roman Catholic, and those claiming to represent British unionism, who are predominantly Protestant. Unionists want Northern Ireland to remain part of the United Kingdom, while nationalists desire a united Ireland.
Since the signing of the Good Friday Agreement in 1998, most of the paramilitary groups involved in the Troubles have ceased their armed campaigns, and constitutionally, the people of Northern Ireland have been recognised as "all persons born in Northern Ireland and having, at the time of their birth, at least one parent who is a British citizen, an Irish citizen or is otherwise entitled to reside in Northern Ireland without any restriction on their period of residence". The Good Friday Agreement guarantees the "recognition of the birthright of all the people of Northern Ireland to identify themselves and be accepted as Irish or British, or both, as they may so choose".
Culture
Result from the expansion of the British Empire, British cultural influence can be observed in the language and culture of a geographically wide assortment of countries such as Canada, Australia, New Zealand, South Africa, India, Pakistan, the United States, and the British overseas territories. These states are sometimes collectively known as the Anglosphere. As well as the British influence on its empire, the empire also influenced British culture, particularly British cuisine. Innovations and movements within the wider-culture of Europe have also changed the United Kingdom; Humanism, Protestantism, and representative democracy have developed from broader Western culture.
As a result of the history of the formation of the United Kingdom, the cultures of England, Scotland, Wales, and Northern Ireland are diverse and have varying degrees of overlap and distinctiveness.
Cuisine
Historically, British cuisine has meant "unfussy dishes made with quality local ingredients, matched with simple sauces to accentuate flavour, rather than disguise it". It has been "vilified as unimaginative and heavy", and traditionally been limited in its international recognition to the full breakfast and the Christmas dinner. This is despite British cuisine having absorbed the culinary influences of those who have settled in Britain, resulting in hybrid dishes such as the British Asian Chicken tikka masala, hailed by some as "Britain's true national dish".
Celtic agriculture and animal breeding produced a wide variety of foodstuffs for Celts and Britons. The Anglo-Saxons developed meat and savoury herb stewing techniques before the practice became common in Europe. The Norman conquest of England introduced exotic spices into Britain in the Middle Ages. The British Empire facilitated a knowledge of India's food tradition of "strong, penetrating spices and herbs". Food rationing policies, imposed by the British government during wartime periods of the 20th century, are said to have been the stimulus for British cuisine's poor international reputation.
British dishes include fish and chips, the Sunday roast, and bangers and mash. British cuisine has several national and regional varieties, including English, Scottish and Welsh cuisine, each of which has developed its own regional or local dishes, many of which are geographically indicated foods such as Cheddar cheese, Cheshire cheese, the Yorkshire pudding, Arbroath Smokie, Cornish pasty and Welsh cakes.
The British are the second largest per capita tea consumers in the world, consuming an average of per person each year. British tea culture dates back to the 19th century, when India was part of the British Empire and British interests controlled tea production in the subcontinent.
Languages
There is no single British language, though English is by far the main language spoken by British citizens, being spoken monolingually by more than 70% of the UK population. English is therefore the de facto official language of the United Kingdom. However, under the European Charter for Regional or Minority Languages, the Welsh, Scottish Gaelic, Cornish, Irish Gaelic, Ulster Scots, Manx, Scots and Lowland Scots languages are officially recognised as Regional or Minority languages by the UK Government. Insular varieties of Norman are recognised languages of the Bailiwicks of Jersey and Guernsey, although they are dying. Standard French is an official language of both bailiwicks. As indigenous languages which continue to be spoken as a first language by native inhabitants, Welsh and Scottish Gaelic have a different legal status from other minority languages. In some parts of the UK, some of these languages are commonly spoken as a first language; in wider areas, their use in a bilingual context is sometimes supported or promoted by central or local government policy. For naturalisation purposes, a competence standard of English, Scottish Gaelic or Welsh is required to pass the life in the United Kingdom test. However, English is used routinely, and although considered culturally important, Scottish Gaelic and Welsh are much less used.
Throughout the United Kingdom there are distinctive spoken expressions and regional accents of English, which are seen to be symptomatic of a locality's culture and identity. An awareness and knowledge of accents in the United Kingdom can "place, within a few miles, the locality in which a man or woman has grown up".
Literature
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
Famous authors include some of the world's most studied and praised writers. William Shakespeare and Christopher Marlowe defined England's Elizabethan period. The British Romantic movement was one of the strongest and most recognisable in Europe. The poets William Blake, Wordsworth and Coleridge were amongst the pioneers of Romanticism in literature. Other Romantic writers that followed these figure further enhanced the profile of Romanticism in Europe, such as John Keats, Percy Bysshe Shelley and Lord Byron. Later periods like the Victorian Era saw a further flourishing of British writing, including Charles Dickens and William Thackeray.
Women's literature in Britain has had a long and often troubled history, with many female writers producing work under a pen name, such as George Eliot. Other great female novelists that have contributed to world literature are Frances Burney, Frances Hodgson Burnett, Virginia Woolf, Jane Austen and the Brontë sisters, Emily, Charlotte and Anne.
Non-fiction has also played an important role in the history of British letters, with the first dictionary of the English language being produced and compiled by Samuel Johnson, a graduate of Oxford University and a London resident.
Media and music
Although cinema, theatre, dance and live music are popular, the favourite pastime of the British is watching television. Public broadcast television in the United Kingdom began in 1936, with the launch of the BBC Television Service (now BBC One). In the United Kingdom and the Crown dependencies, one must have a television licence to legally receive any broadcast television service, from any source. This includes the commercial channels, cable and satellite transmissions, and the Internet. Revenue generated from the television licence is used to provide radio, television and Internet content for the British Broadcasting Corporation, and Welsh language television programmes for S4C. The BBC, the common abbreviation of the British Broadcasting Corporation, is the world's largest broadcaster. Unlike other broadcasters in the UK, it is a public service based, quasi-autonomous, statutory corporation run by the BBC Trust. Free-to-air terrestrial television channels available on a national basis are BBC One, BBC Two, ITV, Channel 4 (S4C in Wales), and Five.
100 Greatest British Television Programmes was a list compiled by the British Film Institute in 2000, chosen by a poll of industry professionals, to determine what were the greatest British television programmes of any genre ever to have been screened. Topping the list was Fawlty Towers, a British sitcom set in a fictional Torquay hotel starring John Cleese.
"British musical tradition is essentially vocal", dominated by the music of England and Germanic culture, most greatly influenced by hymns and Anglican church music. However, the specific, traditional music of Wales and music of Scotland is distinct, and of the Celtic musical tradition. In the United Kingdom, more people attend live music performances than football matches. British rock was born in the mid-20th century out of the influence of rock and roll and rhythm and blues from the United States. Major early exports were The Beatles, The Rolling Stones, The Who and The Kinks. Together with other bands from the United Kingdom, these constituted the British Invasion, a popularisation of British pop and rock music in the United States. Into the 1970s heavy metal, new wave, and 2 tone. Britpop is a subgenre of alternative rock that emerged from the British independent music scene of the early 1990s and was characterised by bands reviving British guitar pop music of the 1960s and 1970s. Leading exponents of Britpop were Blur, Oasis and Pulp. Also popularised in the United Kingdom during the 1990s were several domestically produced varieties of electronic dance music; acid house, UK hard house, jungle, UK garage which in turn have influenced grime and British hip hop in the 2000s. The BRIT Awards are the British Phonographic Industry's annual awards for both international and British popular music.
Religion
Historically, Christianity has been the most influential and important religion in Britain, and it remains the declared faith of the majority of the British people. The influence of Christianity on British culture has been "widespread, extending beyond the spheres of prayer and worship. Churches and cathedrals make a significant contribution to the architectural landscape of the nation's cities and towns" whilst "many schools and hospitals were founded by men and women who were strongly influenced by Christian motives". Throughout the United Kingdom, Easter and Christmas, the "two most important events in the Christian calendar", are recognised as public holidays.
Christianity remains the major religion of the population of the United Kingdom in the 21st century, followed by Islam, Hinduism, Sikhism and then Judaism in terms of numbers of adherents. The 2007 Tearfund Survey revealed 53% identified themselves as Christian, which was similar to the 2004 British Social Attitudes Survey, and to the United Kingdom Census 2001 in which 71.6% said that Christianity was their religion, However, the Tearfund Survey showed only one in ten Britons attend church weekly. Secularism was advanced in Britain during the Age of Enlightenment, and modern British organisations such as the British Humanist Association and the National Secular Society offer the opportunity for their members to "debate and explore the moral and philosophical issues in a non-religious setting".
The Treaty of Union that led to the formation of the Kingdom of Great Britain ensured that there would be a Protestant succession as well as a link between church and state that still remains. The Church of England (Anglican) is legally recognised as the established church, and so retains representation in the Parliament of the United Kingdom through the Lords Spiritual, whilst the British monarch is a member of the church as well as its Supreme Governor. The Church of England also retains the right to draft legislative measures (related to religious administration) through the General Synod that can then be passed into law by Parliament. The Roman Catholic Church in England and Wales is the second largest Christian church with around five million members, mainly in England. There are also growing Orthodox, Evangelical and Pentecostal churches, with Pentecostal churches in England now third after the Church of England and the Roman Catholic Church in terms of church attendance. Other large Christian groups include Methodists and Baptists.
The Presbyterian Church of Scotland (known informally as The Kirk), is recognised as the national church of Scotland and not subject to state control. The British monarch is an ordinary member and is required to swear an oath to "defend the security" of the church upon his or her accession. The Roman Catholic Church in Scotland is Scotland's second largest Christian church, with followers representing a sixth of the population of Scotland. The Scottish Episcopal Church, which is part of the Anglican Communion, dates from the final establishment of Presbyterianism in Scotland in 1690, when it split from the Church of Scotland over matters of theology and ritual. Further splits in the Church of Scotland, especially in the 19th century, led to the creation of other Presbyterian churches in Scotland, including the Free Church of Scotland. In the 1920s, the Church in Wales became independent from the Church of England and became 'disestablished' but remains in the Anglican Communion. Methodism and other Protestant churches have had a major presence in Wales. The main religious groups in Northern Ireland are organised on an all-Ireland basis. Though collectively Protestants constitute the overall majority, the Roman Catholic Church of Ireland is the largest single church. The Presbyterian Church in Ireland, closely linked to the Church of Scotland in terms of theology and history, is the second largest church followed by the Church of Ireland (Anglican) which was disestablished in the 19th century.
Sport
Sport is an important element of British culture, and is one of the most popular leisure activities of Britons. Within the United Kingdom, nearly half of all adults partake in one or more sporting activity each week. Some of the major sports in the United Kingdom "were invented by the British", including football, rugby union, rugby league and cricket, and "exported various other games" including tennis, badminton, boxing, golf, snooker and squash.
In most sports, separate organisations, teams and clubs represent the individual countries of the United Kingdom at international level, though in some sports, like rugby union, an all-Ireland team represents both Northern Ireland and Ireland (Republic of), and the British and Irish Lions represent Ireland and Britain as a whole. The UK is represented by a single team at the Olympic Games and at the 2012 Summer Olympics, the Great Britain team won 65 medals: 29 gold (the most since the 1908 Summer Olympics), 17 silver and 19 bronze, ranking them 3rd. In total, sportsmen and women from the UK "hold over 50 world titles in a variety of sports, such as professional boxing, rowing, snooker, squash and motorcycle sports".
A 2006 poll found that association football was the most popular sport in the UK. In England 320 football clubs are affiliated to The Football Association (FA) and more than 42,000 clubs to regional or district associations. The FA, founded in 1863, and the Football League, founded in 1888, were both the first of their kind in the world. In Scotland there are 78 full and associate clubs and nearly 6,000 registered clubs under the jurisdiction of the Scottish Football Association. Two Welsh clubs play in England's Football League and others at non-league level, whilst the Welsh Football League contains 20 semi-professional clubs. In Northern Ireland, 12 semi-professional clubs play in the IFA Premiership, the second oldest league in the world.
Recreational fishing, particularly angling, is one of the most popular participation activities in the United Kingdom, with an estimated 3–4 million anglers in the country. The most widely practised form of angling in England and Wales is for coarse fish while in Scotland angling is usually for salmon and trout.
Visual art and architecture
For centuries, artists and architects in Britain were overwhelmingly influenced by Western art history. Amongst the first visual artists credited for developing a distinctly British aesthetic and artistic style is William Hogarth. The experience of military, political and economic power from the rise of the British Empire, led to a very specific drive in artistic technique, taste and sensibility in the United Kingdom. Britons used their art "to illustrate their knowledge and command of the natural world", whilst the permanent settlers in British North America, Australasia, and South Africa "embarked upon a search for distinctive artistic expression appropriate to their sense of national identity". The empire has been "at the centre, rather than in the margins, of the history of British art", and imperial British visual arts have been fundamental to the construction, celebration and expression of Britishness.
British attitudes to modern art were "polarised" at the end of the 19th century. Modernist movements were both cherished and vilified by artists and critics; Impressionism was initially regarded by "many conservative critics" as a "subversive foreign influence", but became "fully assimilated" into British art during the early-20th century. Representational art was described by Herbert Read during the interwar period as "necessarily... revolutionary", and was studied and produced to such an extent that by the 1950s, Classicism was effectively void in British visual art. Post-modern, contemporary British art, particularly that of the Young British Artists, has been pre-occupied with postcolonialism, and "characterised by a fundamental concern with material culture ... perceived as a post-imperial cultural anxiety".
Architecture of the United Kingdom is diverse; most influential developments have usually taken place in England, but Ireland, Scotland, and Wales have at various times played leading roles in architectural history. Although there are prehistoric and classical structures in the British Isles, British architecture effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities. Secular medieval architecture throughout Britain has left a legacy of large stone castles, with the "finest examples" being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitiated the development of new artistic styles for domestic architecture: Tudor style, English Baroque, The Queen Anne Style and Palladian. Georgian and Neoclassical architecture advanced after the Scottish Enlightenment. Outside the United Kingdom, the influence of British architecture is particularly strong in South India, the result of British rule in India in the 19th century. The Indian cities of Bangalore, Chennai, and Mumbai each have courts, hotels and train stations designed in British architectural styles of Gothic Revivalism and neoclassicism.
Political culture
British political culture is tied closely with its institutions and civics, and a "subtle fusion of new and old values". The principle of constitutional monarchy, with its notions of stable parliamentary government and political liberalism, "have come to dominate British culture". These views have been reinforced by Sir Bernard Crick who said:
British political institutions include the Westminster system, the Commonwealth of Nations and Privy Council of the United Kingdom. Although the Privy Council is primarily a British institution, officials from other Commonwealth realms are also appointed to the body. The most notable continuing instance is the Prime Minister of New Zealand, its senior politicians, Chief Justice and Court of Appeal judges are conventionally made Privy Counsellors, as the prime ministers and chief justices of Canada and Australia used to be. Prime Ministers of Commonwealth countries which retain the British monarch as their sovereign continue to be sworn as Privy Counsellors.
Universal suffrage for all males over 21 was granted in 1918 and for adult women in 1928 after the Suffragette movement. Politics in the United Kingdom is multi-party, with three dominant political parties: the Conservative Party, the Labour Party and the Scottish National Party. The social structure of Britain, specifically social class, has "long been pre-eminent among the factors used to explain party allegiance", and still persists as "the dominant basis" of party political allegiance for Britons. The Conservative Party is descended from the historic Tory Party (founded in England in 1678), and is a centre-right conservative political party, which traditionally draws support from the middle classes. The Labour Party (founded by Scotsman Keir Hardie) grew out of the trade union movement and socialist political parties of the 19th century, and continues to describe itself as a "democratic socialist party". Labour states that it stands for the representation of the low-paid working class, who have traditionally been its members and voters. The Scottish National Party is the third largest political party in the UK in terms of both party membership and representation in parliament, having won 56 out of 59 Scottish seats at the 2015 General Election. The Liberal Democrats are a liberal political party, and fourth largest in England in terms of membership and MPs elected. It is descended from the Liberal Party, a major ruling party of 19th-century UK through to the First World War, when it was supplanted by the Labour Party. The Liberal Democrats have historically drawn support from wide and "differing social backgrounds". There are over 300 other, smaller political parties in the United Kingdom registered to the Electoral Commission.
Classification
According to the British Social Attitudes Survey, there are broadly two interpretations of British identity, with ethnic and civic dimensions:
Of the two perspectives of British identity, the civic definition has become "the dominant idea ... by far", and in this capacity, Britishness is sometimes considered an institutional or overarching state identity. This has been used to explain why first-, second- and third-generation immigrants are more likely to describe themselves as British, rather than English, because it is an "institutional, inclusive" identity, that can be acquired through naturalisation and British nationality law; the vast majority of people in the United Kingdom who are from an ethnic minority feel British.
However, this attitude is more common in England than in Scotland or Wales; "white English people perceived themselves as English first and as British second, and most people from ethnic minority backgrounds perceived themselves as British, but none identified as English, a label they associated exclusively with white people". Contrawise, in Scotland and Wales, White British and ethnic minority people both identified more strongly with Scotland and Wales than with Britain.
Studies and surveys have "reported that the majority of the Scots and Welsh see themselves as both Scottish/Welsh and British though with some differences in emphasis". The Commission for Racial Equality found that with respect to notions of nationality in Britain, "the most basic, objective and uncontroversial conception of the British people is one that includes the English, the Scots and the Welsh". However, "English participants tended to think of themselves as indistinguishably English or British, while both Scottish and Welsh participants identified themselves much more readily as Scottish or Welsh than as British".
Some persons opted "to combine both identities" as "they felt Scottish or Welsh, but held a British passport and were therefore British", whereas others saw themselves as exclusively Scottish or exclusively Welsh and "felt quite divorced from the British, whom they saw as the English". Commentators have described this latter phenomenon as "nationalism", a rejection of British identity because some Scots and Welsh interpret it as "cultural imperialism imposed" upon the United Kingdom by "English ruling elites", or else a response to a historical misappropriation of equating the word "English" with "British", which has "brought about a desire among Scots, Welsh and Irish to learn more about their heritage and distinguish themselves from the broader British identity".
See also
Anti-British sentiment
Lists of British people
100 Greatest Britons
References
Citations
Sources
Further reading
External links
British society
Ethnic groups in the United Kingdom | true | [
"Tariff Man may refer to:\n\n William McKinley, the 25th president of the United States, who became known for calling himself \"tariff man\"\n Donald Trump, the 45th president of the United States, who called himself \"tariff man\" and is nicknamed it",
"Mongi Slim (, ) (September 1, 1908October 23, 1969) was a Tunisian diplomat who became the first African to become the President of the United Nations General Assembly in 1961. He received a degree from the faculty of law of the University of Paris. He was twice imprisoned by the French during the Tunisian struggle for independence.\n\nEarly years\nBorn on September 15, 1908, in Tunis, Slim came from an aristocratic family of Greek and Turkish origin. His mother was a member of the Beyrum family, a noble Turkish family which had risen to prominence in Tunis, and was famous throughout the Arab world for its learnedness in Islamic law. One of Slim's great-grandfathers, a Greek named Kafkalas, was captured as a boy by pirates, and sold to the Bey of Tunis, who educated and freed him and then made him his minister of defense. His paternal grandfather was an aristocratic Caid who ruled the wealthy province of Cape Bon.\n\nPolitical career\nIn 1936, Slim became involved in organizations advocating Tunisia's independence from France. In 1954, he became the chief Tunisian negotiator in discussions with France on independence. In this position, he helped draft protocols which secured Tunisia's independence in 1956. Slim served as an interior minister of Tunisia from 1955 to 1956.\n\nIn 1956 he became Tunisia's ambassador to the United States, Canada and the United Nations. He became involved in a special United Nations Committee on the problem of Hungary and served as a delegate to the United Nations Security Council. He relinquished his posts as ambassador to the United States and Canada in 1961 when he was unanimously elected president of the United Nations General Assembly after a plane crash that killed U.N. Secretary General Dag Hammarskjöld. Slim made the cover of Time magazine in September 1961. The United States came up with a plan to have Slim carry out the duties of Secretary-General while delegating his own duties to a Vice-President of the General Assembly. However, the Soviet Union favored U Thant of Burma and secured U.S. agreement to appoint Thant acting Secretary-General for the remainder of Hammarskjöld's term.\n\nSlim left the United Nations in 1962 and became Minister of Foreign Affairs of Tunisia. He served in that position until 1964.\n\nReferences\n\nPresidents of the United Nations General Assembly\nTunisian diplomats\n1908 births\n1969 deaths\nTunisian people of Greek descent\nTunisian people of Turkish descent\nPermanent Representatives of Tunisia to the United Nations\nAmbassadors of Tunisia to the United States\nAmbassadors of Tunisia to Canada\nForeign ministers of Tunisia\n20th-century Tunisian people\nInterior ministers of Tunisia"
]
|
[
"British people",
"Union and the development of Britishness",
"Who became united?",
"the Kingdoms of England and Scotland"
]
| C_a479cbb94c45445996c5347a9527d23e_0 | What led to their union? | 2 | What led to the union of the Kingdoms of England and Scotland? | British people | Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures--the Bill of Rights 1689 and Claim of Right Act 1689 respectively--which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations. While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet--the colony of New Caledonia--on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost. The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme. CANNOTANSWER | drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. | The British people or Britons, also known colloquially as Brits, are the citizens of the United Kingdom of Great Britain and Northern Ireland, the British Overseas Territories, and the Crown dependencies. British nationality law governs modern British citizenship and nationality, which can be acquired, for instance, by descent from British nationals. When used in a historical context, "British" or "Britons" can refer to the Ancient Britons, the indigenous inhabitants of Great Britain and Brittany, whose surviving members are the modern Welsh people, Cornish people, and Bretons. It also refers to citizens of the former British Empire, who settled in the country prior to 1973, and hold neither UK citizenship nor nationality.
Though early assertions of being British date from the Late Middle Ages, the Union of the Crowns in 1603 and the creation of the Kingdom of Great Britain in 1707 triggered a sense of British national identity. The notion of Britishness and a shared British identity was forged during the 18th century and early 19th century when Britain engaged in several global conflicts with France, and developed further during the Victorian era. The complex history of the formation of the United Kingdom created a "particular sense of nationhood and belonging" in Great Britain and Ireland; Britishness became "superimposed on much older identities", of English, Scots, Welsh, and Irish cultures, whose distinctiveness still resists notions of a homogenised British identity. Because of longstanding ethno-sectarian divisions, British identity in Northern Ireland is controversial, but it is held with strong conviction by Unionists.
Modern Britons are descended mainly from the varied ethnic groups that settled in Great Britain in and before the 11th century: Prehistoric, Brittonic, Roman, Anglo-Saxon, Norse, and Normans. The progressive political unification of the British Isles facilitated migration, cultural and linguistic exchange, and intermarriage between the peoples of England, Scotland and Wales during the late Middle Ages, early modern period and beyond. Since 1922 and earlier, there has been immigration to the United Kingdom by people from what is now the Republic of Ireland, the Commonwealth, mainland Europe and elsewhere; they and their descendants are mostly British citizens, with some assuming a British, dual or hyphenated identity. This includes the groups Black British and Asian British people, which together constitute around 10% of the British population.
The British are a diverse, multinational, multicultural and multilingual society, with "strong regional accents, expressions and identities". The social structure of the United Kingdom has changed radically since the 19th century, with a decline in religious observance, enlargement of the middle class, and increased ethnic diversity, particularly since the 1950s, when citizens of the British Empire were encouraged to immigrate to Britain to work as part of the recovery from World War II. The population of the UK stands at around 66 million, with a British diaspora of around 140 million concentrated in the United States, Australia, Canada, and New Zealand, with smaller concentrations in the Republic of Ireland, Chile, South Africa, and parts of the Caribbean.
History of the term
The earliest known reference to the inhabitants of Great Britain may have come from 4th century BC records of the voyage of Pytheas, a Greek geographer who made a voyage of exploration around the British Isles. Although none of his own writings remain, writers during the time of the Roman Empire made much reference to them. Pytheas called the islands collectively (hai Brettaniai), which has been translated as the Brittanic Isles, and the peoples of what are today England, Wales, Scotland and the Isle of Man of Prettanike were called the (Prettanoi), Priteni, Pritani or Pretani.
The group included Ireland, which was referred to as Ierne (Insula sacra "sacred island" as the Greeks interpreted it) "inhabited by the different race of Hiberni" (gens hibernorum), and Britain as insula Albionum, "island of the Albions". The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.
Greek and Roman writers, in the 1st century BC and the 1st century AD, name the inhabitants of Great Britain and Ireland as the Priteni, the origin of the Latin word Britanni. It has been suggested that this name derives from a Gaulish description translated as "people of the forms", referring to the custom of tattooing or painting their bodies with blue woad made from Isatis tinctoria. Parthenius, a 1st-century Ancient Greek grammarian, and the Etymologicum Genuinum, a 9th-century lexical encyclopaedia, mention a mythical character Bretannus (the Latinised form of the , Brettanós) as the father of Celtine, mother of Celtus, the eponymous ancestor of the Celts.
By 50 BC Greek geographers were using equivalents of Prettanikē as a collective name for the British Isles. However, with the Roman conquest of Britain the Latin term Britannia was used for the island of Great Britain, and later Roman-occupied Britain south of Caledonia (modern day Scotland north of the rivers Forth & Clyde), although the people of Caledonia and the north were also the self same Britons during the Roman period, the Gaels arriving four centuries later. Following the end of Roman rule in Britain, the island of Great Britain was left open to invasion by pagan, seafaring warriors such as Germanic-speaking Anglo-Saxons and Jutes from Continental Europe, who gained control in areas around the south east, and to Middle Irish-speaking people migrating from what is today Northern Ireland to the north of Great Britain (modern Scotland), founding Gaelic kingdoms such as Dál Riata and Alba, which would eventually subsume the native Brittonic and Pictish kingdoms and become Scotland.
In this sub-Roman Britain, as Anglo-Saxon culture spread across southern and eastern Britain and Gaelic through much of the north, the demonym "Briton" became restricted to the Brittonic-speaking inhabitants of what would later be called Wales, Cornwall, North West England (Cumbria), and a southern part of Scotland(Strathclyde). In addition the term was also applied to Brittany in what is today France and Britonia in north west Spain, both regions having been colonised by Britons in the 5th century fleeing the Anglo-Saxon invasions. However, the term Britannia persisted as the Latin name for the island. The Historia Brittonum claimed legendary origins as a prestigious genealogy for Brittonic kings, followed by the Historia Regum Britanniae which popularised this pseudo-history to support the claims of the Kings of England.
During the Middle Ages, and particularly in the Tudor period, the term "British" was used to refer to the Welsh people and Cornish people. At that time, it was "the long held belief that these were the remaining descendants of the Britons and that they spoke 'the British tongue. This notion was supported by texts such as the Historia Regum Britanniae, a pseudohistorical account of ancient British history, written in the mid-12th century by Geoffrey of Monmouth. The Historia Regum Britanniae chronicled the lives of legendary kings of the Britons in a narrative spanning 2000 years, beginning with the Trojans founding the ancient British nation and continuing until the Anglo-Saxon settlement of Britain in the 7th century forced the Britons to the west, i.e. Wales and Cornwall, and north, i.e. Cumbria, Strathclyde and northern Scotland. This legendary Celtic history of Great Britain is known as the Matter of Britain. The Matter of Britain, a national myth, was retold or reinterpreted in works by Gerald of Wales, a Cambro-Norman chronicler who in the 12th and 13th centuries used the term British to refer to the people later known as the Welsh.
History
Ancestral roots
The indigenous people of the British Isles have a combination of Celtic, Anglo-Saxon, Norse and Norman ancestry.
Between the 8th and 11th centuries, "three major cultural divisions" had emerged in Great Britain: the English, the Scots and the Welsh, the earlier Brittonic Celtic polities in what are today England and Scotland having finally been absorbed into Anglo-Saxon England and Gaelic Scotland by the early 11th century. The English had been unified under a single nation state in 937 by King Athelstan of Wessex after the Battle of Brunanburh. Before then, the English (known then in Old English as the Anglecynn) were under the governance of independent Anglo-Saxon petty kingdoms which gradually coalesced into a Heptarchy of seven powerful states, the most powerful of which were Mercia and Wessex. Scottish historian and archaeologist Neil Oliver said that the Battle of Brunanburh would "define the shape of Britain into the modern era", it was a "showdown for two very different ethnic identities – a Norse Celtic alliance versus Anglo Saxon. It aimed to settle once and for all whether Britain would be controlled by a single imperial power or remain several separate independent kingdoms, a split in perceptions which is still very much with us today". However, historian Simon Schama suggested that it was Edward I of England who was solely "responsible for provoking the peoples of Britain into an awareness of their nationhood" in the 13th century. Schama hypothesised that Scottish national identity, "a complex amalgam" of Gaelic, Brittonic, Pictish, Norsemen and Anglo-Norman origins, was not finally forged until the Wars of Scottish Independence against the Kingdom of England in the late 13th and early 14th centuries.
Though Wales was conquered by England, and its legal system replaced by that of the Kingdom of England under the Laws in Wales Acts 1535–1542, the Welsh endured as a nation distinct from the English, and to some degree the Cornish people, although conquered into England by the 11th century, also retained a distinct Brittonic identity and language. Later, with both an English Reformation and a Scottish Reformation, Edward VI of England, under the counsel of Edward Seymour, 1st Duke of Somerset, advocated a union with the Kingdom of Scotland, joining England, Wales, and Scotland in a united Protestant Great Britain. The Duke of Somerset supported the unification of the English, Welsh and Scots under the "indifferent old name of Britons" on the basis that their monarchies "both derived from a Pre-Roman British monarchy".
Following the death of Elizabeth I of England in 1603, the throne of England was inherited by James VI, King of Scots, so that the Kingdom of England and the Kingdom of Scotland were united in a personal union under James VI of Scotland and I of England, an event referred to as the Union of the Crowns. King James advocated full political union between England and Scotland, and on 20 October 1604 proclaimed his assumption of the style "King of Great Britain", though this title was rejected by both the Parliament of England and the Parliament of Scotland, and so had no basis in either English law or Scots law.
Union and the development of Britishness
Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures—the Bill of Rights 1689 and Claim of Right Act 1689 respectively—which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations.
While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet—the colony of New Caledonia—on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost.
The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme.
Union of Scotland and England
Despite opposition from within both Scotland and England, a Treaty of Union was agreed in 1706 and was then ratified by the parliaments of both countries with the passing of the Acts of Union 1707. With effect from 1 May 1707, this created a new sovereign state called the "Kingdom of Great Britain". This kingdom "began as a hostile merger", but led to a "full partnership in the most powerful going concern in the world"; historian Simon Schama stated that "it was one of the most astonishing transformations in European history".
After 1707, a British national identity began to develop, though it was initially resisted, particularly by the English. The peoples of Great Britain had by the 1750s begun to assume a "layered identity": to think of themselves as simultaneously British and also Scottish, English, or Welsh.
The terms North Briton and South Briton were devised for the Scots and the English respectively, with the former gaining some preference in Scotland, particularly by the economists and philosophers of the Scottish Enlightenment. Indeed, it was the "Scots [who] played key roles in shaping the contours of British identity"; "their scepticism about the Union allowed the Scots the space and time in which
to dominate the construction of Britishness in its early crucial years", drawing upon the notion of a shared "spirit of liberty common to both Saxon and Celt ... against the usurpation of the Church of Rome". James Thomson was a poet and playwright born to a Church of Scotland minister in the Scottish Lowlands in 1700 who was interested in forging a common British culture and national identity in this way. In collaboration with Thomas Arne, they wrote Alfred, an opera about Alfred the Great's victory against the Vikings performed to Frederick, Prince of Wales in 1740 to commemorate the accession of George I and the birthday of Princess Augusta. "Rule, Britannia!" was the climactic piece of the opera and quickly became a "jingoistic" British patriotic song celebrating "Britain's supremacy offshore". An island country with a series of victories for the Royal Navy associated empire and naval warfare "inextricably with ideals of Britishness and Britain's place in the world".
Britannia, the new national personification of Great Britain, was established in the 1750s as a representation of "nation and empire rather than any single national hero". On Britannia and British identity, historian Peter Borsay wrote:
From the Union of 1707 through to the Battle of Waterloo in 1815, Great Britain was "involved in successive, very dangerous wars with Catholic France", but which "all brought enough military and naval victories ... to flatter British pride". As the Napoleonic Wars with the First French Empire advanced, "the English and Scottish learned to define themselves as similar primarily by virtue of not being French or Catholic". In combination with sea power and empire, the notion of Britishness became more "closely bound up with Protestantism", a cultural commonality through which the English, Scots and Welsh became "fused together, and remain[ed] so, despite their many cultural divergences".
The neo-classical monuments that proliferated at the end of the 18th century and the start of the 19th century, such as The Kymin at Monmouth, were attempts to meld the concepts of Britishness with the Greco-Roman empires of classical antiquity. The new and expanding British Empire provided "unprecedented opportunities for upward mobility and the accumulations of wealth", and so the "Scottish, Welsh and Irish populations were prepared to suppress nationalist issues on pragmatic grounds". The British Empire was "crucial to the idea of a British identity and to the self-image of Britishness". Indeed, the Scottish welcomed Britishness during the 19th century "for it offered a context within which they could hold on to their own identity whilst participating in, and benefiting from, the expansion of the [British] Empire". Similarly, the "new emphasis of Britishness was broadly welcomed by the Welsh who considered themselves to be the lineal descendants of the ancient Britons – a word that was still used to refer exclusively to the Welsh". For the English, however, by the Victorian era their enthusiastic adoption of Britishness had meant that, for them, Britishness "meant the same as 'Englishness'", so much so that "Englishness and Britishness" and "'England' and 'Britain' were used interchangeably in a variety of contexts". Britishness came to borrow heavily from English political history because England had "always been the dominant component of the British Isles in terms of size, population and power"; Magna Carta, common law and hostility to continental Europe were English factors that influenced British sensibilities.
Union with Ireland
The political union in 1800 of the predominantly Catholic Kingdom of Ireland with Great Britain, coupled with the outbreak of peace with France in the early 19th century, challenged the previous century's concept of militant Protestant Britishness. The new, expanded United Kingdom of Great Britain and Ireland meant that the state had to re-evaluate its position on the civil rights of Catholics, and extend its definition of Britishness to the Irish people. Like the terms that had been invented at the time of the Acts of Union 1707, "West Briton" was introduced for the Irish after 1800. In 1832 Daniel O'Connell, an Irish politician who campaigned for Catholic Emancipation, stated in Britain's House of Commons:
Ireland, from 1801 to 1923, was marked by a succession of economic and political mismanagement and neglect, which marginalised the Irish, and advanced Irish nationalism. In the forty years that followed the Union, successive British governments grappled with the problems of governing a country which had as Benjamin Disraeli, a staunch anti-Irish and anti-Catholic member of the Conservative party with a virulent racial and religious prejudice towards Ireland put it in 1844, "a starving population, an absentee aristocracy, and an alien Church, and in addition the weakest executive in the world". Although the vast majority of Unionists in Ireland proclaimed themselves "simultaneously Irish and British", even for them there was a strain upon the adoption of Britishness after the Great Famine.
War continued to be a unifying factor for the people of Great Britain: British jingoism re-emerged during the Boer Wars in southern Africa. The experience of military, political and economic power from the rise of the British Empire led to a very specific drive in artistic technique, taste and sensibility for Britishness. In 1887, Frederic Harrison wrote:
The Catholic Relief Act 1829 reflected a "marked change in attitudes" in Great Britain towards Catholics and Catholicism. A "significant" example of this was the collaboration between Augustus Welby Pugin, an "ardent Roman Catholic" and son of a Frenchman, and Sir Charles Barry, "a confirmed Protestant", in redesigning the Palace of Westminster—"the building that most enshrines ... Britain's national and imperial pre-tensions". Protestantism gave way to imperialism as the leading element of British national identity during the Victorian and Edwardian eras, and as such, a series of royal, imperial and national celebrations were introduced to the British people to assert imperial British culture and give themselves a sense of uniqueness, superiority and national consciousness. Empire Day and jubilees of Queen Victoria were introduced to the British middle class, but quickly "merged into a national 'tradition'".
Modern period
The First World War "reinforced the sense of Britishness" and patriotism in the early 20th century. Through war service (including conscription in Great Britain), "the English, Welsh, Scots and Irish fought as British". The aftermath of the war institutionalised British national commemoration through Remembrance Sunday and the Poppy Appeal. The Second World War had a similar unifying effect upon the British people, however, its outcome was to recondition Britishness on a basis of democratic values and its marked contrast to Europeanism. Notions that the British "constituted an Island race, and that it stood for democracy were reinforced during the war and they were circulated in the country through Winston Churchill's speeches, history books and newspapers".
At its international zenith, "Britishness joined peoples around the world in shared traditions and common loyalties that were strenuously maintained". But following the two world wars, the British Empire experienced rapid decolonisation. The secession of the Irish Free State from the United Kingdom meant that Britishness had lost "its Irish dimension" in 1922, and the shrinking empire supplanted by independence movements dwindled the appeal of British identity in the Commonwealth of Nations during the mid-20th century.
Since the British Nationality Act 1948 and the subsequent mass immigration to the United Kingdom from the Commonwealth and elsewhere in the world, "the expression and experience of cultural life in Britain has become fragmented and reshaped by the influences of gender, ethnicity, class and region". Furthermore, the United Kingdom's membership of the European Economic Community in 1973 eroded the concept of Britishness as distinct from continental Europe. As such, since the 1970s "there has been a sense of crisis about what it has meant to be British", exacerbated by growing demands for greater political autonomy for Northern Ireland, Scotland, and Wales.
The late 20th century saw major changes to the politics of the United Kingdom with the establishment of devolved national administrations for Northern Ireland, Scotland, and Wales following pre-legislative referendums. Calls for greater autonomy for the four countries of the United Kingdom had existed since their original union with each other, but gathered pace in the 1960s and 1970s. Devolution has led to "increasingly assertive Scottish, Welsh and Irish national identities", resulting in more diverse cultural expressions of Britishness, or else its outright rejection: Gwynfor Evans, a Welsh nationalist politician active in the late 20th century, rebuffed Britishness as "a political synonym for Englishness which extends English culture over the Scots, Welsh and the Irish".
In 2004 Sir Bernard Crick, political theorist and democratic socialist tasked with developing the life in the United Kingdom test said:
Gordon Brown initiated a debate on British identity in 2006. Brown's speech to the Fabian Society's Britishness Conference proposed that British values demand a new constitutional settlement and symbols to represent a modern patriotism, including a new youth community service scheme and a British Day to celebrate. One of the central issues identified at the Fabian Society conference was how the English identity fits within the framework of a devolved United Kingdom. An expression of Her Majesty's Government's initiative to promote Britishness was the inaugural Veterans' Day which was first held on 27 June 2006. As well as celebrating the achievements of armed forces veterans, Brown's speech at the first event for the celebration said:
In 2018, the Windrush scandal illustrated complex developments in British peoplehood, when it was revealed hundreds of Britons had been wrongfully deported. With roots in the break-up of the empire, and post-war rebuilding; the Windrush generation had arrived as CUKC citizens in the 1950s and 1960s. Born in former British colonies, they settled in the UK before 1973, and were granted “right of abode” by the Immigration Act 1971. Having faced removal, or been deported, many British people of African Caribbean heritage suffered with loss of home, livelihood, and health. As a result of the political scandal, many institutions and elected politicians publicly affirmed that these individuals, while not legally holding British citizenship or nationality, were, in fact, British people. These included British Prime Minister Theresa May, London Mayor Sadiq Khan, Her Majesty's CPS Inspectorate Wendy Williams and her House of Commons-ordered Windrush Lessons Learned Review, the Chartered Institute of Housing, Amnesty International, University of Oxford's social geographer Danny Dorling, and other public figures.
Geographic distribution
The earliest migrations of Britons date from the 5th and 6th centuries AD, when Brittonic Celts fleeing the Anglo-Saxon invasions migrated what is today northern France and north western Spain and forged the colonies of Brittany and Britonia. Brittany remained independent of France until the early 16th century and still retains a distinct Brittonic culture and language, whilst Britonia in modern Galicia was absorbed into Spanish states by the end of the 9th century AD.
Britons – people with British citizenship or of British descent – have a significant presence in a number of countries other than the United Kingdom, and in particular in those with historic connections to the British Empire. After the Age of Discovery, the British were one of the earliest and largest communities to emigrate out of Europe, and the British Empire's expansion during the first half of the 19th century triggered an "extraordinary dispersion of the British people", resulting in particular concentrations "in Australasia and North America".
The British Empire was "built on waves of migration overseas by British people", who left the United Kingdom and "reached across the globe and permanently affected population structures in three continents". As a result of the British colonisation of the Americas, what became the United States was "easily the greatest single destination of emigrant British", but in Australia the British experienced a birth rate higher than "anything seen before", resulting in the displacement of indigenous Australians.
In colonies such as Southern Rhodesia, British East Africa and Cape Colony, permanently resident British communities were established and whilst never more than a numerical minority, these Britons "exercised a dominant influence" upon the culture and politics of those lands. In Australia, Canada and New Zealand, "people of British origin came to constitute the majority of the population" contributing to these states becoming integral to the Anglosphere.
The United Kingdom Census 1861 estimated the size of the overseas British to be around 2.5 million, but concluded that most of these were "not conventional settlers" but rather "travellers, merchants, professionals, and military personnel". By 1890, there were over 1.5 million further UK-born people living in Australia, Canada, New Zealand and South Africa. A 2006 publication from the Institute for Public Policy Research estimated 5.6 million Britons lived outside of the United Kingdom.
Outside of the United Kingdom and its Overseas Territories, the largest proportions of people of self-identified ethnic British descent in the world are found in New Zealand (59%), Australia (46%) and Canada (31%), followed by a considerably smaller minority in the United States (10.7%) and parts of the Caribbean. Hong Kong has the highest proportion of British citizens outside of the United Kingdom and its Overseas Territories, with 47% of Hong Kong residents holding a British National (Overseas) citizenship or a British citizenship.
Australia
From the beginning of Australia's colonial period until after the Second World War, people from the United Kingdom made up a large majority of people coming to Australia, meaning that many people born in Australia can trace their origins to Britain. The colony of New South Wales, founded on 26 January 1788, was part of the eastern half of Australia claimed by the Kingdom of Great Britain in 1770, and initially settled by Britons through penal transportation. Together with another five largely self-governing Crown Colonies, the federation of Australia was achieved on 1 January 1901.
Its history of British dominance meant that Australia was "grounded in British culture and political traditions that had been transported to the Australian colonies in the nineteenth century and become part of colonial culture and politics". Australia maintains the Westminster system of Parliamentary Government and Elizabeth II as Queen of Australia. Until 1987, the national status of Australian citizens was formally described as "British Subject: Citizen of Australia". Britons continue to make up a substantial proportion of immigrants.
By 1947, Australia was fundamentally British in origin with 7,524,129 or 99.3% of the population declaring themselves as European. In the most recent 2016 census, a large proportion of Australians self-identified with British ancestral origins, including 36.1% or 7,852,224 as English and 9.3% (2,023,474) as Scottish alone. A substantial proportion —33.5%— chose to identify as ‘Australian’, the census Bureau has stated that most of these are of Anglo-Celtic colonial stock.
All 6 states of Australia retain the Union Jack in the canton of their respective flags.
British Overseas Territories
The approximately 250,000 people of the British Overseas Territories are British by citizenship, via origins or naturalisation. Along with aspects of common British identity, each of them has their own distinct identity shaped in the respective particular circumstances of political, economic, ethnic, social and cultural history. For instance, in the case of the Falkland Islanders, Lewis Clifton the Speaker of the Legislative Council of the Falkland Islands, explains:
In contrast, for the majority of the Gibraltarians, who live in Gibraltar, there is an "insistence on their Britishness" which "carries excessive loyalty" to Britain. The sovereignty of Gibraltar has been a point of contention in Spain–United Kingdom relations, but an overwhelming number of Gibraltarians embrace Britishness with strong conviction, in direct opposition to Spanish territorial claims.
Canada
Canada traces its statehood to the French, English, and Scottish expeditions of North America from the late-15th century. France ceded nearly all of New France in 1763 after the Seven Years' War, and so after the United States Declaration of Independence in 1776, Quebec and Nova Scotia formed "the nucleus of the colonies that constituted Britain's remaining stake on the North American continent". British North America attracted the United Empire Loyalists, Britons who migrated out of what they considered the "rebellious" United States, increasing the size of British communities in what was to become Canada.
In 1867 there was a union of three colonies with British North America which together formed the Canadian Confederation, a federal dominion. This began an accretion of additional provinces and territories and a process of increasing autonomy from the United Kingdom, highlighted by the Statute of Westminster 1931 and culminating in the Canada Act 1982, which severed the vestiges of legal dependence on the parliament of the United Kingdom. Nevertheless, it is recognised that there is a "continuing importance of Canada's long and close relationship with Britain"; large parts of Canada's modern population claim "British origins" and the cultural impact of the British upon Canada's institutions is profound.
It was not until 1977 that the phrase "A Canadian citizen is a British subject" ceased to be used in Canadian passports. The politics of Canada are strongly influenced by British political culture. Although significant modifications have been made, Canada is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as The Queen of Canada and Head of State. English is the most commonly spoken language used in Canada and it is an official language of Canada.
British iconography remains present in the design of many Canadian flags, with 10 out of 13 Canadian provincial and territorial flags adopting some form of British symbolism in their design. The Union Jack is also an official ceremonial flag in Canada known as the Royal Union Flag which is flown outside of federal buildings three days of the year.
New Zealand
A long-term result of James Cook's voyage of 1768–1771, a significant number of New Zealanders are of British descent, for whom a sense of Britishness has contributed to their identity. As late as the 1950s, it was common for British New Zealanders to refer to themselves as British, such as when Prime Minister Keith Holyoake described Sir Edmund Hillary's successful ascent of Mount Everest as putting "the British race and New Zealand on top of the world". New Zealand passports described nationals as "British Subject: Citizen of New Zealand" until 1974, when this was changed to "New Zealand citizen".
In an interview with the New Zealand Listener in 2006, Don Brash, the then Leader of the Opposition, said:
The politics of New Zealand are strongly influenced by British political culture. Although significant modifications have been made, New Zealand is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as the head of the monarchy of New Zealand. English is the dominant official language used in New Zealand.
Hong Kong
British nationality law as it pertains to Hong Kong has been unusual ever since Hong Kong became a British colony in 1842. From its beginning as a sparsely populated trading port to its modern role as a cosmopolitan international financial centre of over seven million people, the territory has attracted refugees, immigrants and expatriates alike searching for a new life.
Citizenship matters were complicated by the fact that British nationality law treated those born in Hong Kong as British subjects (although they did not enjoy full rights and citizenship), while the People's Republic of China (PRC) did not recognise Hong Kong Chinese as such. The main reason for this was that recognising these people as British was seen as a tacit acceptance of a series of historical treaties that the PRC labelled as "unequal", including the ones which ceded Hong Kong Island, the Kowloon Peninsula and the New Territories to Britain. The British government, however, recognising the unique political situation of Hong Kong, granted 3.4 million Hong Kongers a new type of nationality known as British National (Overseas), which is established in accordance with the Hong Kong Act 1985. Among those 3.4 million people, there are many British Nationals (Overseas) who are eligible for full British citizenship. Both British Nationals (Overseas) and British citizens are British nationals and Commonwealth citizens according to the British Nationality Law, which enables them to various rights in the United Kingdom and the European Union.
United States
An English presence in North America began with the Roanoke Colony and Colony of Virginia in the late-16th century, but the first successful English settlement was established in 1607, on the James River at Jamestown. By the 1610s an estimated 1,300 English people had travelled to North America, the "first of many millions from the British Isles". In 1620, the Pilgrims established the English imperial venture of Plymouth Colony, beginning "a remarkable acceleration of permanent emigration from England" with over 60% of trans-Atlantic English migrants settling in the New England Colonies. During the 17th century, an estimated 350,000 English and Welsh migrants arrived in North America, which in the century after the Acts of Union 1707 was surpassed in rate and number by Scottish and Irish migrants.
The British policy of salutary neglect for its North American colonies intended to minimise trade restrictions as a way of ensuring they stayed loyal to British interests. This permitted the development of the American Dream, a cultural spirit distinct from that of its European founders. The Thirteen Colonies of British America began an armed rebellion against British rule in 1775 when they rejected the right of the Parliament of Great Britain to govern them without representation; they proclaimed their independence in 1776, and constituted the first thirteen states of the United States of America, which became a sovereign state in 1781 with the ratification of the Articles of Confederation. The 1783 Treaty of Paris represented Great Britain's formal acknowledgement of the United States' sovereignty at the end of the American Revolutionary War.
Nevertheless, longstanding cultural and historical ties have, in more modern times, resulted in the Special Relationship, the historically close political, diplomatic, and military co-operation between the United Kingdom and United States. Linda Colley, a professor of history at Princeton University and specialist in Britishness, suggested that because of their colonial influence on the United States, the British find Americans a "mysterious and paradoxical people, physically distant but culturally close, engagingly similar yet irritatingly different".
For over two centuries (1789-1989) of early U.S. history, all Presidents with the exception of two (Van Buren and Kennedy) were descended from the varied colonial British stock, from the Pilgrims and Puritans to the Scotch-Irish and English who settled the Appalachia.
The largest concentrations of self-reported British ethnic ancestry in the United States were found to be in Utah (35%), Maine (30%), New Hampshire (25%) and Vermont (25%) at the 2015 American Community Survey. Overall, 10.7% of Americans reported their ethnic ancestry as some form of "British" in the 2013–17 ACS, behind German and African ancestries and on par with Mexican and Irish ancestries.
Chile
Approximately 4% of Chile's population is of British or Irish descent. Over 50,000 British immigrants settled in Chile from 1840 to 1914. A significant number of them settled in Magallanes Province, especially in the city of Punta Arenas when it flourished as a major global seaport for ships crossing between the Atlantic and Pacific Oceans through the Strait of Magellan. Around 32,000 English settled in Valparaíso, influencing the port city to the extent of making it virtually a British colony during the last decades of the 19th century and the beginning of the 20th century. However, the opening of the Panama Canal in 1914 and the outbreak of the First World War drove many of them away from the city or back to Europe.
In Valparaíso, they created their largest and most important colony, bringing with them neighbourhoods of British character, schools, social clubs, sports clubs, business organisations and periodicals. Even today their influence is apparent in specific areas, such as the banks and the navy, as well as in certain social activities, such as football, horse racing, and the custom of drinking tea.
During the movement for independence (1818), it was mainly the British who formed the Chilean Navy, under the command of Lord Cochrane.
British investment helped Chile become prosperous and British seamen helped the Chilean navy become a strong force in the South Pacific. Chile won two wars, the first against the Peru-Bolivian Confederation and the second, the War of the Pacific, in 1878–79, against an alliance between Peru and Bolivia. The liberal-socialist "Revolution of 1891" introduced political reforms modelled on British parliamentary practice and lawmaking.
British immigrants were also important in the northern zone of the country during the saltpetre boom, in the ports of Iquique and Pisagua. The "King of Saltpetre", John Thomas North, was the principal tycoon of nitrate mining. The British legacy is reflected in the streets of the historic district of the city of Iquique, with the foundation of various institutions, such as the Club Hípico (Racing Club). Nevertheless, the British active presence came to an end with the saltpetre crisis during the 1930s.
Some Scots settled in the country's more temperate regions, where the climate and the forested landscape with glaciers and islands may have reminded them of their homeland (the Highlands and Northern Scotland) while English and Welsh made up the rest. The Irish immigrants, who were frequently confused with the British, arrived as merchants, tradesmen and sailors, settling along with the British in the main trading cities and ports.
An important contingent of British (principally Welsh) immigrants arrived between 1914 and 1950, settling in the present-day region of Magallanes. British families were established in other areas of the country, such as Santiago, Coquimbo, the Araucanía, and Chiloé.
The cultural legacy of the British in Chile is notable and has spread beyond the British Chilean community into society at large. Customs taken from the British include afternoon tea (called onces by Chileans), football, rugby union and horse racing. Another legacy is the widespread use of British personal names by Chileans.
Chile has the largest population of descendants of British settlers in Latin America. Over 700,000 Chileans may have British (English, Scottish and Welsh) origin, amounting to 4.5% of Chile's population.
South Africa
The British arrived in the area which would become the modern-day South Africa during the early 18th century, yet substantial settlement only started end of the 18th century, in the Cape of Good Hope; the British first explored the area for conquests for or related to the Slave Trade. In the late 19th century, the discovery of gold and diamonds further encouraged colonisation of South Africa by the British, and the population of the British-South Africans rose substantially, although there was fierce rivalry between the British and Afrikaners (descendants of Dutch colonists) in the period known as the Boer Wars. When apartheid first started most British-South Africans were mostly keen on keeping and even strengthening its ties with the United Kingdom. The latest census in South Africa showed that there are almost 2 million British-South Africans; they make up about 40% of the total White South African demographic, and the greatest white British ancestry populations in South Africa are in the KwaZulu-Natal province and in the cities of Cape Town, Durban and Port Elizabeth.
Ireland
Plantations of Ireland introduced large numbers of people from Great Britain to Ireland throughout the Middle Ages and early modern period. The resulting Protestant Ascendancy, the aristocratic class of the Lordship of Ireland, broadly identified themselves as Anglo-Irish. In the sixteenth and seventeenth centuries, Protestant British settlers subjugated Catholic, Gaelic inhabitants in the north of Ireland during the Plantation of Ulster and the Williamite War in Ireland; it was "an explicit attempt to control Ireland strategically by introducing ethnic and religious elements loyal to the British interest in Ireland".
The Ulster Scots people are an ethnic group of British origin in Ireland, broadly descended from Lowland Scots who settled in large numbers in the Province of Ulster during the planned process of colonisations of Ireland which took place in the reign of James VI of Scotland and I of England. Together with English and Welsh settlers, these Scots introduced Protestantism (particularly the Presbyterianism of the Church of Scotland) and the Ulster Scots and English languages to, mainly, northeastern Ireland. With the partition of Ireland and independence for what is now the Republic of Ireland some of these people found themselves no longer living within the United Kingdom.
Northern Ireland itself was, for many years, the site of a violent and bitter ethno-sectarian conflict—The Troubles—between those claiming to represent Irish nationalism, who are predominantly Roman Catholic, and those claiming to represent British unionism, who are predominantly Protestant. Unionists want Northern Ireland to remain part of the United Kingdom, while nationalists desire a united Ireland.
Since the signing of the Good Friday Agreement in 1998, most of the paramilitary groups involved in the Troubles have ceased their armed campaigns, and constitutionally, the people of Northern Ireland have been recognised as "all persons born in Northern Ireland and having, at the time of their birth, at least one parent who is a British citizen, an Irish citizen or is otherwise entitled to reside in Northern Ireland without any restriction on their period of residence". The Good Friday Agreement guarantees the "recognition of the birthright of all the people of Northern Ireland to identify themselves and be accepted as Irish or British, or both, as they may so choose".
Culture
Result from the expansion of the British Empire, British cultural influence can be observed in the language and culture of a geographically wide assortment of countries such as Canada, Australia, New Zealand, South Africa, India, Pakistan, the United States, and the British overseas territories. These states are sometimes collectively known as the Anglosphere. As well as the British influence on its empire, the empire also influenced British culture, particularly British cuisine. Innovations and movements within the wider-culture of Europe have also changed the United Kingdom; Humanism, Protestantism, and representative democracy have developed from broader Western culture.
As a result of the history of the formation of the United Kingdom, the cultures of England, Scotland, Wales, and Northern Ireland are diverse and have varying degrees of overlap and distinctiveness.
Cuisine
Historically, British cuisine has meant "unfussy dishes made with quality local ingredients, matched with simple sauces to accentuate flavour, rather than disguise it". It has been "vilified as unimaginative and heavy", and traditionally been limited in its international recognition to the full breakfast and the Christmas dinner. This is despite British cuisine having absorbed the culinary influences of those who have settled in Britain, resulting in hybrid dishes such as the British Asian Chicken tikka masala, hailed by some as "Britain's true national dish".
Celtic agriculture and animal breeding produced a wide variety of foodstuffs for Celts and Britons. The Anglo-Saxons developed meat and savoury herb stewing techniques before the practice became common in Europe. The Norman conquest of England introduced exotic spices into Britain in the Middle Ages. The British Empire facilitated a knowledge of India's food tradition of "strong, penetrating spices and herbs". Food rationing policies, imposed by the British government during wartime periods of the 20th century, are said to have been the stimulus for British cuisine's poor international reputation.
British dishes include fish and chips, the Sunday roast, and bangers and mash. British cuisine has several national and regional varieties, including English, Scottish and Welsh cuisine, each of which has developed its own regional or local dishes, many of which are geographically indicated foods such as Cheddar cheese, Cheshire cheese, the Yorkshire pudding, Arbroath Smokie, Cornish pasty and Welsh cakes.
The British are the second largest per capita tea consumers in the world, consuming an average of per person each year. British tea culture dates back to the 19th century, when India was part of the British Empire and British interests controlled tea production in the subcontinent.
Languages
There is no single British language, though English is by far the main language spoken by British citizens, being spoken monolingually by more than 70% of the UK population. English is therefore the de facto official language of the United Kingdom. However, under the European Charter for Regional or Minority Languages, the Welsh, Scottish Gaelic, Cornish, Irish Gaelic, Ulster Scots, Manx, Scots and Lowland Scots languages are officially recognised as Regional or Minority languages by the UK Government. Insular varieties of Norman are recognised languages of the Bailiwicks of Jersey and Guernsey, although they are dying. Standard French is an official language of both bailiwicks. As indigenous languages which continue to be spoken as a first language by native inhabitants, Welsh and Scottish Gaelic have a different legal status from other minority languages. In some parts of the UK, some of these languages are commonly spoken as a first language; in wider areas, their use in a bilingual context is sometimes supported or promoted by central or local government policy. For naturalisation purposes, a competence standard of English, Scottish Gaelic or Welsh is required to pass the life in the United Kingdom test. However, English is used routinely, and although considered culturally important, Scottish Gaelic and Welsh are much less used.
Throughout the United Kingdom there are distinctive spoken expressions and regional accents of English, which are seen to be symptomatic of a locality's culture and identity. An awareness and knowledge of accents in the United Kingdom can "place, within a few miles, the locality in which a man or woman has grown up".
Literature
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
Famous authors include some of the world's most studied and praised writers. William Shakespeare and Christopher Marlowe defined England's Elizabethan period. The British Romantic movement was one of the strongest and most recognisable in Europe. The poets William Blake, Wordsworth and Coleridge were amongst the pioneers of Romanticism in literature. Other Romantic writers that followed these figure further enhanced the profile of Romanticism in Europe, such as John Keats, Percy Bysshe Shelley and Lord Byron. Later periods like the Victorian Era saw a further flourishing of British writing, including Charles Dickens and William Thackeray.
Women's literature in Britain has had a long and often troubled history, with many female writers producing work under a pen name, such as George Eliot. Other great female novelists that have contributed to world literature are Frances Burney, Frances Hodgson Burnett, Virginia Woolf, Jane Austen and the Brontë sisters, Emily, Charlotte and Anne.
Non-fiction has also played an important role in the history of British letters, with the first dictionary of the English language being produced and compiled by Samuel Johnson, a graduate of Oxford University and a London resident.
Media and music
Although cinema, theatre, dance and live music are popular, the favourite pastime of the British is watching television. Public broadcast television in the United Kingdom began in 1936, with the launch of the BBC Television Service (now BBC One). In the United Kingdom and the Crown dependencies, one must have a television licence to legally receive any broadcast television service, from any source. This includes the commercial channels, cable and satellite transmissions, and the Internet. Revenue generated from the television licence is used to provide radio, television and Internet content for the British Broadcasting Corporation, and Welsh language television programmes for S4C. The BBC, the common abbreviation of the British Broadcasting Corporation, is the world's largest broadcaster. Unlike other broadcasters in the UK, it is a public service based, quasi-autonomous, statutory corporation run by the BBC Trust. Free-to-air terrestrial television channels available on a national basis are BBC One, BBC Two, ITV, Channel 4 (S4C in Wales), and Five.
100 Greatest British Television Programmes was a list compiled by the British Film Institute in 2000, chosen by a poll of industry professionals, to determine what were the greatest British television programmes of any genre ever to have been screened. Topping the list was Fawlty Towers, a British sitcom set in a fictional Torquay hotel starring John Cleese.
"British musical tradition is essentially vocal", dominated by the music of England and Germanic culture, most greatly influenced by hymns and Anglican church music. However, the specific, traditional music of Wales and music of Scotland is distinct, and of the Celtic musical tradition. In the United Kingdom, more people attend live music performances than football matches. British rock was born in the mid-20th century out of the influence of rock and roll and rhythm and blues from the United States. Major early exports were The Beatles, The Rolling Stones, The Who and The Kinks. Together with other bands from the United Kingdom, these constituted the British Invasion, a popularisation of British pop and rock music in the United States. Into the 1970s heavy metal, new wave, and 2 tone. Britpop is a subgenre of alternative rock that emerged from the British independent music scene of the early 1990s and was characterised by bands reviving British guitar pop music of the 1960s and 1970s. Leading exponents of Britpop were Blur, Oasis and Pulp. Also popularised in the United Kingdom during the 1990s were several domestically produced varieties of electronic dance music; acid house, UK hard house, jungle, UK garage which in turn have influenced grime and British hip hop in the 2000s. The BRIT Awards are the British Phonographic Industry's annual awards for both international and British popular music.
Religion
Historically, Christianity has been the most influential and important religion in Britain, and it remains the declared faith of the majority of the British people. The influence of Christianity on British culture has been "widespread, extending beyond the spheres of prayer and worship. Churches and cathedrals make a significant contribution to the architectural landscape of the nation's cities and towns" whilst "many schools and hospitals were founded by men and women who were strongly influenced by Christian motives". Throughout the United Kingdom, Easter and Christmas, the "two most important events in the Christian calendar", are recognised as public holidays.
Christianity remains the major religion of the population of the United Kingdom in the 21st century, followed by Islam, Hinduism, Sikhism and then Judaism in terms of numbers of adherents. The 2007 Tearfund Survey revealed 53% identified themselves as Christian, which was similar to the 2004 British Social Attitudes Survey, and to the United Kingdom Census 2001 in which 71.6% said that Christianity was their religion, However, the Tearfund Survey showed only one in ten Britons attend church weekly. Secularism was advanced in Britain during the Age of Enlightenment, and modern British organisations such as the British Humanist Association and the National Secular Society offer the opportunity for their members to "debate and explore the moral and philosophical issues in a non-religious setting".
The Treaty of Union that led to the formation of the Kingdom of Great Britain ensured that there would be a Protestant succession as well as a link between church and state that still remains. The Church of England (Anglican) is legally recognised as the established church, and so retains representation in the Parliament of the United Kingdom through the Lords Spiritual, whilst the British monarch is a member of the church as well as its Supreme Governor. The Church of England also retains the right to draft legislative measures (related to religious administration) through the General Synod that can then be passed into law by Parliament. The Roman Catholic Church in England and Wales is the second largest Christian church with around five million members, mainly in England. There are also growing Orthodox, Evangelical and Pentecostal churches, with Pentecostal churches in England now third after the Church of England and the Roman Catholic Church in terms of church attendance. Other large Christian groups include Methodists and Baptists.
The Presbyterian Church of Scotland (known informally as The Kirk), is recognised as the national church of Scotland and not subject to state control. The British monarch is an ordinary member and is required to swear an oath to "defend the security" of the church upon his or her accession. The Roman Catholic Church in Scotland is Scotland's second largest Christian church, with followers representing a sixth of the population of Scotland. The Scottish Episcopal Church, which is part of the Anglican Communion, dates from the final establishment of Presbyterianism in Scotland in 1690, when it split from the Church of Scotland over matters of theology and ritual. Further splits in the Church of Scotland, especially in the 19th century, led to the creation of other Presbyterian churches in Scotland, including the Free Church of Scotland. In the 1920s, the Church in Wales became independent from the Church of England and became 'disestablished' but remains in the Anglican Communion. Methodism and other Protestant churches have had a major presence in Wales. The main religious groups in Northern Ireland are organised on an all-Ireland basis. Though collectively Protestants constitute the overall majority, the Roman Catholic Church of Ireland is the largest single church. The Presbyterian Church in Ireland, closely linked to the Church of Scotland in terms of theology and history, is the second largest church followed by the Church of Ireland (Anglican) which was disestablished in the 19th century.
Sport
Sport is an important element of British culture, and is one of the most popular leisure activities of Britons. Within the United Kingdom, nearly half of all adults partake in one or more sporting activity each week. Some of the major sports in the United Kingdom "were invented by the British", including football, rugby union, rugby league and cricket, and "exported various other games" including tennis, badminton, boxing, golf, snooker and squash.
In most sports, separate organisations, teams and clubs represent the individual countries of the United Kingdom at international level, though in some sports, like rugby union, an all-Ireland team represents both Northern Ireland and Ireland (Republic of), and the British and Irish Lions represent Ireland and Britain as a whole. The UK is represented by a single team at the Olympic Games and at the 2012 Summer Olympics, the Great Britain team won 65 medals: 29 gold (the most since the 1908 Summer Olympics), 17 silver and 19 bronze, ranking them 3rd. In total, sportsmen and women from the UK "hold over 50 world titles in a variety of sports, such as professional boxing, rowing, snooker, squash and motorcycle sports".
A 2006 poll found that association football was the most popular sport in the UK. In England 320 football clubs are affiliated to The Football Association (FA) and more than 42,000 clubs to regional or district associations. The FA, founded in 1863, and the Football League, founded in 1888, were both the first of their kind in the world. In Scotland there are 78 full and associate clubs and nearly 6,000 registered clubs under the jurisdiction of the Scottish Football Association. Two Welsh clubs play in England's Football League and others at non-league level, whilst the Welsh Football League contains 20 semi-professional clubs. In Northern Ireland, 12 semi-professional clubs play in the IFA Premiership, the second oldest league in the world.
Recreational fishing, particularly angling, is one of the most popular participation activities in the United Kingdom, with an estimated 3–4 million anglers in the country. The most widely practised form of angling in England and Wales is for coarse fish while in Scotland angling is usually for salmon and trout.
Visual art and architecture
For centuries, artists and architects in Britain were overwhelmingly influenced by Western art history. Amongst the first visual artists credited for developing a distinctly British aesthetic and artistic style is William Hogarth. The experience of military, political and economic power from the rise of the British Empire, led to a very specific drive in artistic technique, taste and sensibility in the United Kingdom. Britons used their art "to illustrate their knowledge and command of the natural world", whilst the permanent settlers in British North America, Australasia, and South Africa "embarked upon a search for distinctive artistic expression appropriate to their sense of national identity". The empire has been "at the centre, rather than in the margins, of the history of British art", and imperial British visual arts have been fundamental to the construction, celebration and expression of Britishness.
British attitudes to modern art were "polarised" at the end of the 19th century. Modernist movements were both cherished and vilified by artists and critics; Impressionism was initially regarded by "many conservative critics" as a "subversive foreign influence", but became "fully assimilated" into British art during the early-20th century. Representational art was described by Herbert Read during the interwar period as "necessarily... revolutionary", and was studied and produced to such an extent that by the 1950s, Classicism was effectively void in British visual art. Post-modern, contemporary British art, particularly that of the Young British Artists, has been pre-occupied with postcolonialism, and "characterised by a fundamental concern with material culture ... perceived as a post-imperial cultural anxiety".
Architecture of the United Kingdom is diverse; most influential developments have usually taken place in England, but Ireland, Scotland, and Wales have at various times played leading roles in architectural history. Although there are prehistoric and classical structures in the British Isles, British architecture effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities. Secular medieval architecture throughout Britain has left a legacy of large stone castles, with the "finest examples" being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitiated the development of new artistic styles for domestic architecture: Tudor style, English Baroque, The Queen Anne Style and Palladian. Georgian and Neoclassical architecture advanced after the Scottish Enlightenment. Outside the United Kingdom, the influence of British architecture is particularly strong in South India, the result of British rule in India in the 19th century. The Indian cities of Bangalore, Chennai, and Mumbai each have courts, hotels and train stations designed in British architectural styles of Gothic Revivalism and neoclassicism.
Political culture
British political culture is tied closely with its institutions and civics, and a "subtle fusion of new and old values". The principle of constitutional monarchy, with its notions of stable parliamentary government and political liberalism, "have come to dominate British culture". These views have been reinforced by Sir Bernard Crick who said:
British political institutions include the Westminster system, the Commonwealth of Nations and Privy Council of the United Kingdom. Although the Privy Council is primarily a British institution, officials from other Commonwealth realms are also appointed to the body. The most notable continuing instance is the Prime Minister of New Zealand, its senior politicians, Chief Justice and Court of Appeal judges are conventionally made Privy Counsellors, as the prime ministers and chief justices of Canada and Australia used to be. Prime Ministers of Commonwealth countries which retain the British monarch as their sovereign continue to be sworn as Privy Counsellors.
Universal suffrage for all males over 21 was granted in 1918 and for adult women in 1928 after the Suffragette movement. Politics in the United Kingdom is multi-party, with three dominant political parties: the Conservative Party, the Labour Party and the Scottish National Party. The social structure of Britain, specifically social class, has "long been pre-eminent among the factors used to explain party allegiance", and still persists as "the dominant basis" of party political allegiance for Britons. The Conservative Party is descended from the historic Tory Party (founded in England in 1678), and is a centre-right conservative political party, which traditionally draws support from the middle classes. The Labour Party (founded by Scotsman Keir Hardie) grew out of the trade union movement and socialist political parties of the 19th century, and continues to describe itself as a "democratic socialist party". Labour states that it stands for the representation of the low-paid working class, who have traditionally been its members and voters. The Scottish National Party is the third largest political party in the UK in terms of both party membership and representation in parliament, having won 56 out of 59 Scottish seats at the 2015 General Election. The Liberal Democrats are a liberal political party, and fourth largest in England in terms of membership and MPs elected. It is descended from the Liberal Party, a major ruling party of 19th-century UK through to the First World War, when it was supplanted by the Labour Party. The Liberal Democrats have historically drawn support from wide and "differing social backgrounds". There are over 300 other, smaller political parties in the United Kingdom registered to the Electoral Commission.
Classification
According to the British Social Attitudes Survey, there are broadly two interpretations of British identity, with ethnic and civic dimensions:
Of the two perspectives of British identity, the civic definition has become "the dominant idea ... by far", and in this capacity, Britishness is sometimes considered an institutional or overarching state identity. This has been used to explain why first-, second- and third-generation immigrants are more likely to describe themselves as British, rather than English, because it is an "institutional, inclusive" identity, that can be acquired through naturalisation and British nationality law; the vast majority of people in the United Kingdom who are from an ethnic minority feel British.
However, this attitude is more common in England than in Scotland or Wales; "white English people perceived themselves as English first and as British second, and most people from ethnic minority backgrounds perceived themselves as British, but none identified as English, a label they associated exclusively with white people". Contrawise, in Scotland and Wales, White British and ethnic minority people both identified more strongly with Scotland and Wales than with Britain.
Studies and surveys have "reported that the majority of the Scots and Welsh see themselves as both Scottish/Welsh and British though with some differences in emphasis". The Commission for Racial Equality found that with respect to notions of nationality in Britain, "the most basic, objective and uncontroversial conception of the British people is one that includes the English, the Scots and the Welsh". However, "English participants tended to think of themselves as indistinguishably English or British, while both Scottish and Welsh participants identified themselves much more readily as Scottish or Welsh than as British".
Some persons opted "to combine both identities" as "they felt Scottish or Welsh, but held a British passport and were therefore British", whereas others saw themselves as exclusively Scottish or exclusively Welsh and "felt quite divorced from the British, whom they saw as the English". Commentators have described this latter phenomenon as "nationalism", a rejection of British identity because some Scots and Welsh interpret it as "cultural imperialism imposed" upon the United Kingdom by "English ruling elites", or else a response to a historical misappropriation of equating the word "English" with "British", which has "brought about a desire among Scots, Welsh and Irish to learn more about their heritage and distinguish themselves from the broader British identity".
See also
Anti-British sentiment
Lists of British people
100 Greatest Britons
References
Citations
Sources
Further reading
External links
British society
Ethnic groups in the United Kingdom | true | [
"The Kenya African Union (KAU) was a political organization devoted to achieving independence for British Kenya. In 1960 it became the current Kenya African National Union (KANU).\n\nFormation\nThe Kenya African Union was founded in 1944 under the name Kenya African Study Union. The word \"Study\" was dropped in 1947 when Jomo Kenyatta joined and became the leader of the party. At the time Kenya was among several African colonies experiencing misrule as a result of the European power's distracting involvement in World War II. Kenyan Africans tried to use KAU to gain political rights through peaceful, nonviolent approaches. The Kenya African Union formed to demand independence for Kenya in the early 1950s through a more forceful approach. Many protests and riots led to the organisation being proscribed in 1952, and several of its leaders being detained. The guerilla warfare tactics of the Land and Freedom Army eventually led to Kikuyus Kambas, Kalenjins and others being labeled \"Mau Mau\" by the British. Displeased by this designation, Jomo Kenyatta gave a speech in 1952 to prove that the Kenya African Union was not what the British believed it was. Kenyatta stated that the Mau Mau was an organization that promoted violence while the KAU was an organization that didn't. Also in his speech, Kenyatta stated the desire for all of Kenya to be united in order for the people to gain their independence. Along with his speech Kenyatta also said that he would set up a government system to help settle the land differentiations and maintain peace in Kenya. The KAU began weak under the British, but their support grew after Kenyatta's speech.\n\nAccomplishments\nKenya achieved independence and adopted a parliamentary system, largely due to the leadership of politicians who had been part of KAU. Despite guerrilla warfare and protests, the peaceful negotiations led by former KAU leaders prevailed, inspiring other movements across Africa and the world. The Royal Commission helped settle the land arguments between the British and the Kenyans. The Royal Commission also helped make government decisions and proved that the KAU was an organization that desired peace and tranquility.\n\nReferences\n\nIndependence movements\nKenya African National Union\nNational liberation movements in Africa\nPolitical parties established in 1944",
"The People's Union was an association in Lagos, Nigeria created in 1908 to promote the welfare of the city's residents regardless of race or religion. Its leaders included educated and traditional elites. An early goal was to stop a project to bring piped water into the city. All residents would pay taxes to cover the costs, but the wealthy Europeans and Africans with piped houses would be the main beneficiaries. The union lost popular support when the educated elites accepted a compromise on the water project in 1915. The People's Union was revived to fight an election in 1923 and continued until 1928, but could not compete with the more populist Nigerian National Democratic Party (NNDP).\n\nBackground\n\nUnder governor Walter Egerton a proposal for a system of piped water in Lagos was submitted to the Legislative Council in 1907, with the cost to be covered by direct taxation of the city's residents. The project was opposed by the majority of residents because of the tax component. Water was already freely available from the lagoon and from wells. \nThe main beneficiaries would be the Europeans and rich Africans who had water pipes in their houses.\nAnother issue was that the colonial government was funding Christian organizations but refusing equivalent funds to Muslims, who formed over 70% of the population.\n\nObjectives and organization\n\nJohn K. Randle and Orisadipe Obasa founded the People's Union at a mass meeting in Enu Owa in 1908 in reaction to the preferential treatment of Christians.\nThe organization was secular, open to people of all religious persuasions, and was dedicated to the welfare of the people of Lagos.\nSpecific objectives were to oppose expropriation, changes in land tenure and the water rate.\nThe organization also opposed the Seditious Ordinance.\nThe People's Union was a political association rather than a political party.\nIt was led by a coalition of educated and traditional elites.\nRandle was president and Obasa was secretary.\nOther key members included conservatives such as Sir Kitoye Ajasa, Dr Richard Akinwande Savage and Sir Adeyemo Alakija.\nObasa's wife led the associated Women's Union.\n\nEarly years\n\nBy the end of 1910 the People's Union had the broader goal of promoting \"the interest of the country in every legitimate way, by upholding what is right, and protesting against what is inimical to the interest of the country.\"\nIn 1911 its members toured Yorubaland to agitate against the proposal by Governor Frederick Lugard to declare all land to be the property of the government.\nRandle and Obasa may have gone to London to press their case.\nThe government dropped the proposal.\n\nIn 1914 the Chief Imam (Lemomu) of Lagos supported the water rate, as did Alli Balogun, a wealthy Muslim who was associated with Randle.\nThe Lemomu was a northerner with stricter views than the Yoruba Moslems. A conflict between him and the Eleko of Lagos led to a split among the Muslims.\nOpponents of the Lemomu also opposed the water rate, and aligned with Herbert Macaulay.\nDuring World War I (1914–18) Governor Lugard again tried to introduce the Water Rate in Lagos.\nThe People's Union wrote to the Secretary of State for the Colonies in 1915 asking that the piped water project be suspended during the war. \nThey were accused of sedition and disloyalty.\nThe educated elites in the Union changed their stance to allowing the project to continue, but with reduced water taxes.\nThey asked only for a \"not exorbitant rate.\"\nThis caused a split with the traditional elites and the loss of confidence of the general public.\nThe union was inactive after 1916.\n\nPost-war activity\nAfter the war Randle and Orisadipe Obasa founded the Reform Club, which took an interest in politics and education.\nThis seems to have been a continuation of the People's Union under another name.\nHerbert Macaulay founded the Nigerian National Democratic Party (NNDP) in 1922.\nHe was supported by leading nationalists such as John Payne Jackson.\nGovernor Sir Hugh Clifford instituted elections in Lagos in 1923.\nThe People's Union was revived under Randle's leadership.\nIn September 1923 the first elections were held for the Legislative Council. Obasa ran for election on the People's Union platform but was defeated.\n\nAlthough the People's Union favored gradual introduction of reforms while the NNDP was radical, both drew their membership from the Lagos elite.\nSome professional men with progressive ideas became members of the People's Union, such as the journalist Ernest Ikoli, who was its last secretary, but the People's Union was never a real challenge to the NNDP.\nIn 1927 the People's Union, by now quickly losing members, did manage to block a government proposal for a poll tax and have it replaced by an income tax.\nRandle died on 27 February 1928.\nObasa took leadership of what was left of the People's Union.\nThe People's Union dissolved soon after.\n\nReferences\n\nSources\n\nDefunct political parties in Nigeria\nPolitical parties established in 1908\nDefunct organizations based in Lagos\nHistory of Lagos\nPolitical parties in Lagos\nConservative parties in Nigeria\n1908 establishments in the British Empire"
]
|
[
"British people",
"Union and the development of Britishness",
"Who became united?",
"the Kingdoms of England and Scotland",
"What led to their union?",
"drawing increasingly together\" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603."
]
| C_a479cbb94c45445996c5347a9527d23e_0 | Are there any other interesting aspects about this article? | 3 | Are there any other interesting aspects about the development of Bristishness besides the union of Kingdoms of England and Scotland? | British people | Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures--the Bill of Rights 1689 and Claim of Right Act 1689 respectively--which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations. While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet--the colony of New Caledonia--on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost. The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme. CANNOTANSWER | the Age of Discovery gave new-found imperial power and wealth to the English and Welsh | The British people or Britons, also known colloquially as Brits, are the citizens of the United Kingdom of Great Britain and Northern Ireland, the British Overseas Territories, and the Crown dependencies. British nationality law governs modern British citizenship and nationality, which can be acquired, for instance, by descent from British nationals. When used in a historical context, "British" or "Britons" can refer to the Ancient Britons, the indigenous inhabitants of Great Britain and Brittany, whose surviving members are the modern Welsh people, Cornish people, and Bretons. It also refers to citizens of the former British Empire, who settled in the country prior to 1973, and hold neither UK citizenship nor nationality.
Though early assertions of being British date from the Late Middle Ages, the Union of the Crowns in 1603 and the creation of the Kingdom of Great Britain in 1707 triggered a sense of British national identity. The notion of Britishness and a shared British identity was forged during the 18th century and early 19th century when Britain engaged in several global conflicts with France, and developed further during the Victorian era. The complex history of the formation of the United Kingdom created a "particular sense of nationhood and belonging" in Great Britain and Ireland; Britishness became "superimposed on much older identities", of English, Scots, Welsh, and Irish cultures, whose distinctiveness still resists notions of a homogenised British identity. Because of longstanding ethno-sectarian divisions, British identity in Northern Ireland is controversial, but it is held with strong conviction by Unionists.
Modern Britons are descended mainly from the varied ethnic groups that settled in Great Britain in and before the 11th century: Prehistoric, Brittonic, Roman, Anglo-Saxon, Norse, and Normans. The progressive political unification of the British Isles facilitated migration, cultural and linguistic exchange, and intermarriage between the peoples of England, Scotland and Wales during the late Middle Ages, early modern period and beyond. Since 1922 and earlier, there has been immigration to the United Kingdom by people from what is now the Republic of Ireland, the Commonwealth, mainland Europe and elsewhere; they and their descendants are mostly British citizens, with some assuming a British, dual or hyphenated identity. This includes the groups Black British and Asian British people, which together constitute around 10% of the British population.
The British are a diverse, multinational, multicultural and multilingual society, with "strong regional accents, expressions and identities". The social structure of the United Kingdom has changed radically since the 19th century, with a decline in religious observance, enlargement of the middle class, and increased ethnic diversity, particularly since the 1950s, when citizens of the British Empire were encouraged to immigrate to Britain to work as part of the recovery from World War II. The population of the UK stands at around 66 million, with a British diaspora of around 140 million concentrated in the United States, Australia, Canada, and New Zealand, with smaller concentrations in the Republic of Ireland, Chile, South Africa, and parts of the Caribbean.
History of the term
The earliest known reference to the inhabitants of Great Britain may have come from 4th century BC records of the voyage of Pytheas, a Greek geographer who made a voyage of exploration around the British Isles. Although none of his own writings remain, writers during the time of the Roman Empire made much reference to them. Pytheas called the islands collectively (hai Brettaniai), which has been translated as the Brittanic Isles, and the peoples of what are today England, Wales, Scotland and the Isle of Man of Prettanike were called the (Prettanoi), Priteni, Pritani or Pretani.
The group included Ireland, which was referred to as Ierne (Insula sacra "sacred island" as the Greeks interpreted it) "inhabited by the different race of Hiberni" (gens hibernorum), and Britain as insula Albionum, "island of the Albions". The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.
Greek and Roman writers, in the 1st century BC and the 1st century AD, name the inhabitants of Great Britain and Ireland as the Priteni, the origin of the Latin word Britanni. It has been suggested that this name derives from a Gaulish description translated as "people of the forms", referring to the custom of tattooing or painting their bodies with blue woad made from Isatis tinctoria. Parthenius, a 1st-century Ancient Greek grammarian, and the Etymologicum Genuinum, a 9th-century lexical encyclopaedia, mention a mythical character Bretannus (the Latinised form of the , Brettanós) as the father of Celtine, mother of Celtus, the eponymous ancestor of the Celts.
By 50 BC Greek geographers were using equivalents of Prettanikē as a collective name for the British Isles. However, with the Roman conquest of Britain the Latin term Britannia was used for the island of Great Britain, and later Roman-occupied Britain south of Caledonia (modern day Scotland north of the rivers Forth & Clyde), although the people of Caledonia and the north were also the self same Britons during the Roman period, the Gaels arriving four centuries later. Following the end of Roman rule in Britain, the island of Great Britain was left open to invasion by pagan, seafaring warriors such as Germanic-speaking Anglo-Saxons and Jutes from Continental Europe, who gained control in areas around the south east, and to Middle Irish-speaking people migrating from what is today Northern Ireland to the north of Great Britain (modern Scotland), founding Gaelic kingdoms such as Dál Riata and Alba, which would eventually subsume the native Brittonic and Pictish kingdoms and become Scotland.
In this sub-Roman Britain, as Anglo-Saxon culture spread across southern and eastern Britain and Gaelic through much of the north, the demonym "Briton" became restricted to the Brittonic-speaking inhabitants of what would later be called Wales, Cornwall, North West England (Cumbria), and a southern part of Scotland(Strathclyde). In addition the term was also applied to Brittany in what is today France and Britonia in north west Spain, both regions having been colonised by Britons in the 5th century fleeing the Anglo-Saxon invasions. However, the term Britannia persisted as the Latin name for the island. The Historia Brittonum claimed legendary origins as a prestigious genealogy for Brittonic kings, followed by the Historia Regum Britanniae which popularised this pseudo-history to support the claims of the Kings of England.
During the Middle Ages, and particularly in the Tudor period, the term "British" was used to refer to the Welsh people and Cornish people. At that time, it was "the long held belief that these were the remaining descendants of the Britons and that they spoke 'the British tongue. This notion was supported by texts such as the Historia Regum Britanniae, a pseudohistorical account of ancient British history, written in the mid-12th century by Geoffrey of Monmouth. The Historia Regum Britanniae chronicled the lives of legendary kings of the Britons in a narrative spanning 2000 years, beginning with the Trojans founding the ancient British nation and continuing until the Anglo-Saxon settlement of Britain in the 7th century forced the Britons to the west, i.e. Wales and Cornwall, and north, i.e. Cumbria, Strathclyde and northern Scotland. This legendary Celtic history of Great Britain is known as the Matter of Britain. The Matter of Britain, a national myth, was retold or reinterpreted in works by Gerald of Wales, a Cambro-Norman chronicler who in the 12th and 13th centuries used the term British to refer to the people later known as the Welsh.
History
Ancestral roots
The indigenous people of the British Isles have a combination of Celtic, Anglo-Saxon, Norse and Norman ancestry.
Between the 8th and 11th centuries, "three major cultural divisions" had emerged in Great Britain: the English, the Scots and the Welsh, the earlier Brittonic Celtic polities in what are today England and Scotland having finally been absorbed into Anglo-Saxon England and Gaelic Scotland by the early 11th century. The English had been unified under a single nation state in 937 by King Athelstan of Wessex after the Battle of Brunanburh. Before then, the English (known then in Old English as the Anglecynn) were under the governance of independent Anglo-Saxon petty kingdoms which gradually coalesced into a Heptarchy of seven powerful states, the most powerful of which were Mercia and Wessex. Scottish historian and archaeologist Neil Oliver said that the Battle of Brunanburh would "define the shape of Britain into the modern era", it was a "showdown for two very different ethnic identities – a Norse Celtic alliance versus Anglo Saxon. It aimed to settle once and for all whether Britain would be controlled by a single imperial power or remain several separate independent kingdoms, a split in perceptions which is still very much with us today". However, historian Simon Schama suggested that it was Edward I of England who was solely "responsible for provoking the peoples of Britain into an awareness of their nationhood" in the 13th century. Schama hypothesised that Scottish national identity, "a complex amalgam" of Gaelic, Brittonic, Pictish, Norsemen and Anglo-Norman origins, was not finally forged until the Wars of Scottish Independence against the Kingdom of England in the late 13th and early 14th centuries.
Though Wales was conquered by England, and its legal system replaced by that of the Kingdom of England under the Laws in Wales Acts 1535–1542, the Welsh endured as a nation distinct from the English, and to some degree the Cornish people, although conquered into England by the 11th century, also retained a distinct Brittonic identity and language. Later, with both an English Reformation and a Scottish Reformation, Edward VI of England, under the counsel of Edward Seymour, 1st Duke of Somerset, advocated a union with the Kingdom of Scotland, joining England, Wales, and Scotland in a united Protestant Great Britain. The Duke of Somerset supported the unification of the English, Welsh and Scots under the "indifferent old name of Britons" on the basis that their monarchies "both derived from a Pre-Roman British monarchy".
Following the death of Elizabeth I of England in 1603, the throne of England was inherited by James VI, King of Scots, so that the Kingdom of England and the Kingdom of Scotland were united in a personal union under James VI of Scotland and I of England, an event referred to as the Union of the Crowns. King James advocated full political union between England and Scotland, and on 20 October 1604 proclaimed his assumption of the style "King of Great Britain", though this title was rejected by both the Parliament of England and the Parliament of Scotland, and so had no basis in either English law or Scots law.
Union and the development of Britishness
Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures—the Bill of Rights 1689 and Claim of Right Act 1689 respectively—which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations.
While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet—the colony of New Caledonia—on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost.
The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme.
Union of Scotland and England
Despite opposition from within both Scotland and England, a Treaty of Union was agreed in 1706 and was then ratified by the parliaments of both countries with the passing of the Acts of Union 1707. With effect from 1 May 1707, this created a new sovereign state called the "Kingdom of Great Britain". This kingdom "began as a hostile merger", but led to a "full partnership in the most powerful going concern in the world"; historian Simon Schama stated that "it was one of the most astonishing transformations in European history".
After 1707, a British national identity began to develop, though it was initially resisted, particularly by the English. The peoples of Great Britain had by the 1750s begun to assume a "layered identity": to think of themselves as simultaneously British and also Scottish, English, or Welsh.
The terms North Briton and South Briton were devised for the Scots and the English respectively, with the former gaining some preference in Scotland, particularly by the economists and philosophers of the Scottish Enlightenment. Indeed, it was the "Scots [who] played key roles in shaping the contours of British identity"; "their scepticism about the Union allowed the Scots the space and time in which
to dominate the construction of Britishness in its early crucial years", drawing upon the notion of a shared "spirit of liberty common to both Saxon and Celt ... against the usurpation of the Church of Rome". James Thomson was a poet and playwright born to a Church of Scotland minister in the Scottish Lowlands in 1700 who was interested in forging a common British culture and national identity in this way. In collaboration with Thomas Arne, they wrote Alfred, an opera about Alfred the Great's victory against the Vikings performed to Frederick, Prince of Wales in 1740 to commemorate the accession of George I and the birthday of Princess Augusta. "Rule, Britannia!" was the climactic piece of the opera and quickly became a "jingoistic" British patriotic song celebrating "Britain's supremacy offshore". An island country with a series of victories for the Royal Navy associated empire and naval warfare "inextricably with ideals of Britishness and Britain's place in the world".
Britannia, the new national personification of Great Britain, was established in the 1750s as a representation of "nation and empire rather than any single national hero". On Britannia and British identity, historian Peter Borsay wrote:
From the Union of 1707 through to the Battle of Waterloo in 1815, Great Britain was "involved in successive, very dangerous wars with Catholic France", but which "all brought enough military and naval victories ... to flatter British pride". As the Napoleonic Wars with the First French Empire advanced, "the English and Scottish learned to define themselves as similar primarily by virtue of not being French or Catholic". In combination with sea power and empire, the notion of Britishness became more "closely bound up with Protestantism", a cultural commonality through which the English, Scots and Welsh became "fused together, and remain[ed] so, despite their many cultural divergences".
The neo-classical monuments that proliferated at the end of the 18th century and the start of the 19th century, such as The Kymin at Monmouth, were attempts to meld the concepts of Britishness with the Greco-Roman empires of classical antiquity. The new and expanding British Empire provided "unprecedented opportunities for upward mobility and the accumulations of wealth", and so the "Scottish, Welsh and Irish populations were prepared to suppress nationalist issues on pragmatic grounds". The British Empire was "crucial to the idea of a British identity and to the self-image of Britishness". Indeed, the Scottish welcomed Britishness during the 19th century "for it offered a context within which they could hold on to their own identity whilst participating in, and benefiting from, the expansion of the [British] Empire". Similarly, the "new emphasis of Britishness was broadly welcomed by the Welsh who considered themselves to be the lineal descendants of the ancient Britons – a word that was still used to refer exclusively to the Welsh". For the English, however, by the Victorian era their enthusiastic adoption of Britishness had meant that, for them, Britishness "meant the same as 'Englishness'", so much so that "Englishness and Britishness" and "'England' and 'Britain' were used interchangeably in a variety of contexts". Britishness came to borrow heavily from English political history because England had "always been the dominant component of the British Isles in terms of size, population and power"; Magna Carta, common law and hostility to continental Europe were English factors that influenced British sensibilities.
Union with Ireland
The political union in 1800 of the predominantly Catholic Kingdom of Ireland with Great Britain, coupled with the outbreak of peace with France in the early 19th century, challenged the previous century's concept of militant Protestant Britishness. The new, expanded United Kingdom of Great Britain and Ireland meant that the state had to re-evaluate its position on the civil rights of Catholics, and extend its definition of Britishness to the Irish people. Like the terms that had been invented at the time of the Acts of Union 1707, "West Briton" was introduced for the Irish after 1800. In 1832 Daniel O'Connell, an Irish politician who campaigned for Catholic Emancipation, stated in Britain's House of Commons:
Ireland, from 1801 to 1923, was marked by a succession of economic and political mismanagement and neglect, which marginalised the Irish, and advanced Irish nationalism. In the forty years that followed the Union, successive British governments grappled with the problems of governing a country which had as Benjamin Disraeli, a staunch anti-Irish and anti-Catholic member of the Conservative party with a virulent racial and religious prejudice towards Ireland put it in 1844, "a starving population, an absentee aristocracy, and an alien Church, and in addition the weakest executive in the world". Although the vast majority of Unionists in Ireland proclaimed themselves "simultaneously Irish and British", even for them there was a strain upon the adoption of Britishness after the Great Famine.
War continued to be a unifying factor for the people of Great Britain: British jingoism re-emerged during the Boer Wars in southern Africa. The experience of military, political and economic power from the rise of the British Empire led to a very specific drive in artistic technique, taste and sensibility for Britishness. In 1887, Frederic Harrison wrote:
The Catholic Relief Act 1829 reflected a "marked change in attitudes" in Great Britain towards Catholics and Catholicism. A "significant" example of this was the collaboration between Augustus Welby Pugin, an "ardent Roman Catholic" and son of a Frenchman, and Sir Charles Barry, "a confirmed Protestant", in redesigning the Palace of Westminster—"the building that most enshrines ... Britain's national and imperial pre-tensions". Protestantism gave way to imperialism as the leading element of British national identity during the Victorian and Edwardian eras, and as such, a series of royal, imperial and national celebrations were introduced to the British people to assert imperial British culture and give themselves a sense of uniqueness, superiority and national consciousness. Empire Day and jubilees of Queen Victoria were introduced to the British middle class, but quickly "merged into a national 'tradition'".
Modern period
The First World War "reinforced the sense of Britishness" and patriotism in the early 20th century. Through war service (including conscription in Great Britain), "the English, Welsh, Scots and Irish fought as British". The aftermath of the war institutionalised British national commemoration through Remembrance Sunday and the Poppy Appeal. The Second World War had a similar unifying effect upon the British people, however, its outcome was to recondition Britishness on a basis of democratic values and its marked contrast to Europeanism. Notions that the British "constituted an Island race, and that it stood for democracy were reinforced during the war and they were circulated in the country through Winston Churchill's speeches, history books and newspapers".
At its international zenith, "Britishness joined peoples around the world in shared traditions and common loyalties that were strenuously maintained". But following the two world wars, the British Empire experienced rapid decolonisation. The secession of the Irish Free State from the United Kingdom meant that Britishness had lost "its Irish dimension" in 1922, and the shrinking empire supplanted by independence movements dwindled the appeal of British identity in the Commonwealth of Nations during the mid-20th century.
Since the British Nationality Act 1948 and the subsequent mass immigration to the United Kingdom from the Commonwealth and elsewhere in the world, "the expression and experience of cultural life in Britain has become fragmented and reshaped by the influences of gender, ethnicity, class and region". Furthermore, the United Kingdom's membership of the European Economic Community in 1973 eroded the concept of Britishness as distinct from continental Europe. As such, since the 1970s "there has been a sense of crisis about what it has meant to be British", exacerbated by growing demands for greater political autonomy for Northern Ireland, Scotland, and Wales.
The late 20th century saw major changes to the politics of the United Kingdom with the establishment of devolved national administrations for Northern Ireland, Scotland, and Wales following pre-legislative referendums. Calls for greater autonomy for the four countries of the United Kingdom had existed since their original union with each other, but gathered pace in the 1960s and 1970s. Devolution has led to "increasingly assertive Scottish, Welsh and Irish national identities", resulting in more diverse cultural expressions of Britishness, or else its outright rejection: Gwynfor Evans, a Welsh nationalist politician active in the late 20th century, rebuffed Britishness as "a political synonym for Englishness which extends English culture over the Scots, Welsh and the Irish".
In 2004 Sir Bernard Crick, political theorist and democratic socialist tasked with developing the life in the United Kingdom test said:
Gordon Brown initiated a debate on British identity in 2006. Brown's speech to the Fabian Society's Britishness Conference proposed that British values demand a new constitutional settlement and symbols to represent a modern patriotism, including a new youth community service scheme and a British Day to celebrate. One of the central issues identified at the Fabian Society conference was how the English identity fits within the framework of a devolved United Kingdom. An expression of Her Majesty's Government's initiative to promote Britishness was the inaugural Veterans' Day which was first held on 27 June 2006. As well as celebrating the achievements of armed forces veterans, Brown's speech at the first event for the celebration said:
In 2018, the Windrush scandal illustrated complex developments in British peoplehood, when it was revealed hundreds of Britons had been wrongfully deported. With roots in the break-up of the empire, and post-war rebuilding; the Windrush generation had arrived as CUKC citizens in the 1950s and 1960s. Born in former British colonies, they settled in the UK before 1973, and were granted “right of abode” by the Immigration Act 1971. Having faced removal, or been deported, many British people of African Caribbean heritage suffered with loss of home, livelihood, and health. As a result of the political scandal, many institutions and elected politicians publicly affirmed that these individuals, while not legally holding British citizenship or nationality, were, in fact, British people. These included British Prime Minister Theresa May, London Mayor Sadiq Khan, Her Majesty's CPS Inspectorate Wendy Williams and her House of Commons-ordered Windrush Lessons Learned Review, the Chartered Institute of Housing, Amnesty International, University of Oxford's social geographer Danny Dorling, and other public figures.
Geographic distribution
The earliest migrations of Britons date from the 5th and 6th centuries AD, when Brittonic Celts fleeing the Anglo-Saxon invasions migrated what is today northern France and north western Spain and forged the colonies of Brittany and Britonia. Brittany remained independent of France until the early 16th century and still retains a distinct Brittonic culture and language, whilst Britonia in modern Galicia was absorbed into Spanish states by the end of the 9th century AD.
Britons – people with British citizenship or of British descent – have a significant presence in a number of countries other than the United Kingdom, and in particular in those with historic connections to the British Empire. After the Age of Discovery, the British were one of the earliest and largest communities to emigrate out of Europe, and the British Empire's expansion during the first half of the 19th century triggered an "extraordinary dispersion of the British people", resulting in particular concentrations "in Australasia and North America".
The British Empire was "built on waves of migration overseas by British people", who left the United Kingdom and "reached across the globe and permanently affected population structures in three continents". As a result of the British colonisation of the Americas, what became the United States was "easily the greatest single destination of emigrant British", but in Australia the British experienced a birth rate higher than "anything seen before", resulting in the displacement of indigenous Australians.
In colonies such as Southern Rhodesia, British East Africa and Cape Colony, permanently resident British communities were established and whilst never more than a numerical minority, these Britons "exercised a dominant influence" upon the culture and politics of those lands. In Australia, Canada and New Zealand, "people of British origin came to constitute the majority of the population" contributing to these states becoming integral to the Anglosphere.
The United Kingdom Census 1861 estimated the size of the overseas British to be around 2.5 million, but concluded that most of these were "not conventional settlers" but rather "travellers, merchants, professionals, and military personnel". By 1890, there were over 1.5 million further UK-born people living in Australia, Canada, New Zealand and South Africa. A 2006 publication from the Institute for Public Policy Research estimated 5.6 million Britons lived outside of the United Kingdom.
Outside of the United Kingdom and its Overseas Territories, the largest proportions of people of self-identified ethnic British descent in the world are found in New Zealand (59%), Australia (46%) and Canada (31%), followed by a considerably smaller minority in the United States (10.7%) and parts of the Caribbean. Hong Kong has the highest proportion of British citizens outside of the United Kingdom and its Overseas Territories, with 47% of Hong Kong residents holding a British National (Overseas) citizenship or a British citizenship.
Australia
From the beginning of Australia's colonial period until after the Second World War, people from the United Kingdom made up a large majority of people coming to Australia, meaning that many people born in Australia can trace their origins to Britain. The colony of New South Wales, founded on 26 January 1788, was part of the eastern half of Australia claimed by the Kingdom of Great Britain in 1770, and initially settled by Britons through penal transportation. Together with another five largely self-governing Crown Colonies, the federation of Australia was achieved on 1 January 1901.
Its history of British dominance meant that Australia was "grounded in British culture and political traditions that had been transported to the Australian colonies in the nineteenth century and become part of colonial culture and politics". Australia maintains the Westminster system of Parliamentary Government and Elizabeth II as Queen of Australia. Until 1987, the national status of Australian citizens was formally described as "British Subject: Citizen of Australia". Britons continue to make up a substantial proportion of immigrants.
By 1947, Australia was fundamentally British in origin with 7,524,129 or 99.3% of the population declaring themselves as European. In the most recent 2016 census, a large proportion of Australians self-identified with British ancestral origins, including 36.1% or 7,852,224 as English and 9.3% (2,023,474) as Scottish alone. A substantial proportion —33.5%— chose to identify as ‘Australian’, the census Bureau has stated that most of these are of Anglo-Celtic colonial stock.
All 6 states of Australia retain the Union Jack in the canton of their respective flags.
British Overseas Territories
The approximately 250,000 people of the British Overseas Territories are British by citizenship, via origins or naturalisation. Along with aspects of common British identity, each of them has their own distinct identity shaped in the respective particular circumstances of political, economic, ethnic, social and cultural history. For instance, in the case of the Falkland Islanders, Lewis Clifton the Speaker of the Legislative Council of the Falkland Islands, explains:
In contrast, for the majority of the Gibraltarians, who live in Gibraltar, there is an "insistence on their Britishness" which "carries excessive loyalty" to Britain. The sovereignty of Gibraltar has been a point of contention in Spain–United Kingdom relations, but an overwhelming number of Gibraltarians embrace Britishness with strong conviction, in direct opposition to Spanish territorial claims.
Canada
Canada traces its statehood to the French, English, and Scottish expeditions of North America from the late-15th century. France ceded nearly all of New France in 1763 after the Seven Years' War, and so after the United States Declaration of Independence in 1776, Quebec and Nova Scotia formed "the nucleus of the colonies that constituted Britain's remaining stake on the North American continent". British North America attracted the United Empire Loyalists, Britons who migrated out of what they considered the "rebellious" United States, increasing the size of British communities in what was to become Canada.
In 1867 there was a union of three colonies with British North America which together formed the Canadian Confederation, a federal dominion. This began an accretion of additional provinces and territories and a process of increasing autonomy from the United Kingdom, highlighted by the Statute of Westminster 1931 and culminating in the Canada Act 1982, which severed the vestiges of legal dependence on the parliament of the United Kingdom. Nevertheless, it is recognised that there is a "continuing importance of Canada's long and close relationship with Britain"; large parts of Canada's modern population claim "British origins" and the cultural impact of the British upon Canada's institutions is profound.
It was not until 1977 that the phrase "A Canadian citizen is a British subject" ceased to be used in Canadian passports. The politics of Canada are strongly influenced by British political culture. Although significant modifications have been made, Canada is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as The Queen of Canada and Head of State. English is the most commonly spoken language used in Canada and it is an official language of Canada.
British iconography remains present in the design of many Canadian flags, with 10 out of 13 Canadian provincial and territorial flags adopting some form of British symbolism in their design. The Union Jack is also an official ceremonial flag in Canada known as the Royal Union Flag which is flown outside of federal buildings three days of the year.
New Zealand
A long-term result of James Cook's voyage of 1768–1771, a significant number of New Zealanders are of British descent, for whom a sense of Britishness has contributed to their identity. As late as the 1950s, it was common for British New Zealanders to refer to themselves as British, such as when Prime Minister Keith Holyoake described Sir Edmund Hillary's successful ascent of Mount Everest as putting "the British race and New Zealand on top of the world". New Zealand passports described nationals as "British Subject: Citizen of New Zealand" until 1974, when this was changed to "New Zealand citizen".
In an interview with the New Zealand Listener in 2006, Don Brash, the then Leader of the Opposition, said:
The politics of New Zealand are strongly influenced by British political culture. Although significant modifications have been made, New Zealand is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as the head of the monarchy of New Zealand. English is the dominant official language used in New Zealand.
Hong Kong
British nationality law as it pertains to Hong Kong has been unusual ever since Hong Kong became a British colony in 1842. From its beginning as a sparsely populated trading port to its modern role as a cosmopolitan international financial centre of over seven million people, the territory has attracted refugees, immigrants and expatriates alike searching for a new life.
Citizenship matters were complicated by the fact that British nationality law treated those born in Hong Kong as British subjects (although they did not enjoy full rights and citizenship), while the People's Republic of China (PRC) did not recognise Hong Kong Chinese as such. The main reason for this was that recognising these people as British was seen as a tacit acceptance of a series of historical treaties that the PRC labelled as "unequal", including the ones which ceded Hong Kong Island, the Kowloon Peninsula and the New Territories to Britain. The British government, however, recognising the unique political situation of Hong Kong, granted 3.4 million Hong Kongers a new type of nationality known as British National (Overseas), which is established in accordance with the Hong Kong Act 1985. Among those 3.4 million people, there are many British Nationals (Overseas) who are eligible for full British citizenship. Both British Nationals (Overseas) and British citizens are British nationals and Commonwealth citizens according to the British Nationality Law, which enables them to various rights in the United Kingdom and the European Union.
United States
An English presence in North America began with the Roanoke Colony and Colony of Virginia in the late-16th century, but the first successful English settlement was established in 1607, on the James River at Jamestown. By the 1610s an estimated 1,300 English people had travelled to North America, the "first of many millions from the British Isles". In 1620, the Pilgrims established the English imperial venture of Plymouth Colony, beginning "a remarkable acceleration of permanent emigration from England" with over 60% of trans-Atlantic English migrants settling in the New England Colonies. During the 17th century, an estimated 350,000 English and Welsh migrants arrived in North America, which in the century after the Acts of Union 1707 was surpassed in rate and number by Scottish and Irish migrants.
The British policy of salutary neglect for its North American colonies intended to minimise trade restrictions as a way of ensuring they stayed loyal to British interests. This permitted the development of the American Dream, a cultural spirit distinct from that of its European founders. The Thirteen Colonies of British America began an armed rebellion against British rule in 1775 when they rejected the right of the Parliament of Great Britain to govern them without representation; they proclaimed their independence in 1776, and constituted the first thirteen states of the United States of America, which became a sovereign state in 1781 with the ratification of the Articles of Confederation. The 1783 Treaty of Paris represented Great Britain's formal acknowledgement of the United States' sovereignty at the end of the American Revolutionary War.
Nevertheless, longstanding cultural and historical ties have, in more modern times, resulted in the Special Relationship, the historically close political, diplomatic, and military co-operation between the United Kingdom and United States. Linda Colley, a professor of history at Princeton University and specialist in Britishness, suggested that because of their colonial influence on the United States, the British find Americans a "mysterious and paradoxical people, physically distant but culturally close, engagingly similar yet irritatingly different".
For over two centuries (1789-1989) of early U.S. history, all Presidents with the exception of two (Van Buren and Kennedy) were descended from the varied colonial British stock, from the Pilgrims and Puritans to the Scotch-Irish and English who settled the Appalachia.
The largest concentrations of self-reported British ethnic ancestry in the United States were found to be in Utah (35%), Maine (30%), New Hampshire (25%) and Vermont (25%) at the 2015 American Community Survey. Overall, 10.7% of Americans reported their ethnic ancestry as some form of "British" in the 2013–17 ACS, behind German and African ancestries and on par with Mexican and Irish ancestries.
Chile
Approximately 4% of Chile's population is of British or Irish descent. Over 50,000 British immigrants settled in Chile from 1840 to 1914. A significant number of them settled in Magallanes Province, especially in the city of Punta Arenas when it flourished as a major global seaport for ships crossing between the Atlantic and Pacific Oceans through the Strait of Magellan. Around 32,000 English settled in Valparaíso, influencing the port city to the extent of making it virtually a British colony during the last decades of the 19th century and the beginning of the 20th century. However, the opening of the Panama Canal in 1914 and the outbreak of the First World War drove many of them away from the city or back to Europe.
In Valparaíso, they created their largest and most important colony, bringing with them neighbourhoods of British character, schools, social clubs, sports clubs, business organisations and periodicals. Even today their influence is apparent in specific areas, such as the banks and the navy, as well as in certain social activities, such as football, horse racing, and the custom of drinking tea.
During the movement for independence (1818), it was mainly the British who formed the Chilean Navy, under the command of Lord Cochrane.
British investment helped Chile become prosperous and British seamen helped the Chilean navy become a strong force in the South Pacific. Chile won two wars, the first against the Peru-Bolivian Confederation and the second, the War of the Pacific, in 1878–79, against an alliance between Peru and Bolivia. The liberal-socialist "Revolution of 1891" introduced political reforms modelled on British parliamentary practice and lawmaking.
British immigrants were also important in the northern zone of the country during the saltpetre boom, in the ports of Iquique and Pisagua. The "King of Saltpetre", John Thomas North, was the principal tycoon of nitrate mining. The British legacy is reflected in the streets of the historic district of the city of Iquique, with the foundation of various institutions, such as the Club Hípico (Racing Club). Nevertheless, the British active presence came to an end with the saltpetre crisis during the 1930s.
Some Scots settled in the country's more temperate regions, where the climate and the forested landscape with glaciers and islands may have reminded them of their homeland (the Highlands and Northern Scotland) while English and Welsh made up the rest. The Irish immigrants, who were frequently confused with the British, arrived as merchants, tradesmen and sailors, settling along with the British in the main trading cities and ports.
An important contingent of British (principally Welsh) immigrants arrived between 1914 and 1950, settling in the present-day region of Magallanes. British families were established in other areas of the country, such as Santiago, Coquimbo, the Araucanía, and Chiloé.
The cultural legacy of the British in Chile is notable and has spread beyond the British Chilean community into society at large. Customs taken from the British include afternoon tea (called onces by Chileans), football, rugby union and horse racing. Another legacy is the widespread use of British personal names by Chileans.
Chile has the largest population of descendants of British settlers in Latin America. Over 700,000 Chileans may have British (English, Scottish and Welsh) origin, amounting to 4.5% of Chile's population.
South Africa
The British arrived in the area which would become the modern-day South Africa during the early 18th century, yet substantial settlement only started end of the 18th century, in the Cape of Good Hope; the British first explored the area for conquests for or related to the Slave Trade. In the late 19th century, the discovery of gold and diamonds further encouraged colonisation of South Africa by the British, and the population of the British-South Africans rose substantially, although there was fierce rivalry between the British and Afrikaners (descendants of Dutch colonists) in the period known as the Boer Wars. When apartheid first started most British-South Africans were mostly keen on keeping and even strengthening its ties with the United Kingdom. The latest census in South Africa showed that there are almost 2 million British-South Africans; they make up about 40% of the total White South African demographic, and the greatest white British ancestry populations in South Africa are in the KwaZulu-Natal province and in the cities of Cape Town, Durban and Port Elizabeth.
Ireland
Plantations of Ireland introduced large numbers of people from Great Britain to Ireland throughout the Middle Ages and early modern period. The resulting Protestant Ascendancy, the aristocratic class of the Lordship of Ireland, broadly identified themselves as Anglo-Irish. In the sixteenth and seventeenth centuries, Protestant British settlers subjugated Catholic, Gaelic inhabitants in the north of Ireland during the Plantation of Ulster and the Williamite War in Ireland; it was "an explicit attempt to control Ireland strategically by introducing ethnic and religious elements loyal to the British interest in Ireland".
The Ulster Scots people are an ethnic group of British origin in Ireland, broadly descended from Lowland Scots who settled in large numbers in the Province of Ulster during the planned process of colonisations of Ireland which took place in the reign of James VI of Scotland and I of England. Together with English and Welsh settlers, these Scots introduced Protestantism (particularly the Presbyterianism of the Church of Scotland) and the Ulster Scots and English languages to, mainly, northeastern Ireland. With the partition of Ireland and independence for what is now the Republic of Ireland some of these people found themselves no longer living within the United Kingdom.
Northern Ireland itself was, for many years, the site of a violent and bitter ethno-sectarian conflict—The Troubles—between those claiming to represent Irish nationalism, who are predominantly Roman Catholic, and those claiming to represent British unionism, who are predominantly Protestant. Unionists want Northern Ireland to remain part of the United Kingdom, while nationalists desire a united Ireland.
Since the signing of the Good Friday Agreement in 1998, most of the paramilitary groups involved in the Troubles have ceased their armed campaigns, and constitutionally, the people of Northern Ireland have been recognised as "all persons born in Northern Ireland and having, at the time of their birth, at least one parent who is a British citizen, an Irish citizen or is otherwise entitled to reside in Northern Ireland without any restriction on their period of residence". The Good Friday Agreement guarantees the "recognition of the birthright of all the people of Northern Ireland to identify themselves and be accepted as Irish or British, or both, as they may so choose".
Culture
Result from the expansion of the British Empire, British cultural influence can be observed in the language and culture of a geographically wide assortment of countries such as Canada, Australia, New Zealand, South Africa, India, Pakistan, the United States, and the British overseas territories. These states are sometimes collectively known as the Anglosphere. As well as the British influence on its empire, the empire also influenced British culture, particularly British cuisine. Innovations and movements within the wider-culture of Europe have also changed the United Kingdom; Humanism, Protestantism, and representative democracy have developed from broader Western culture.
As a result of the history of the formation of the United Kingdom, the cultures of England, Scotland, Wales, and Northern Ireland are diverse and have varying degrees of overlap and distinctiveness.
Cuisine
Historically, British cuisine has meant "unfussy dishes made with quality local ingredients, matched with simple sauces to accentuate flavour, rather than disguise it". It has been "vilified as unimaginative and heavy", and traditionally been limited in its international recognition to the full breakfast and the Christmas dinner. This is despite British cuisine having absorbed the culinary influences of those who have settled in Britain, resulting in hybrid dishes such as the British Asian Chicken tikka masala, hailed by some as "Britain's true national dish".
Celtic agriculture and animal breeding produced a wide variety of foodstuffs for Celts and Britons. The Anglo-Saxons developed meat and savoury herb stewing techniques before the practice became common in Europe. The Norman conquest of England introduced exotic spices into Britain in the Middle Ages. The British Empire facilitated a knowledge of India's food tradition of "strong, penetrating spices and herbs". Food rationing policies, imposed by the British government during wartime periods of the 20th century, are said to have been the stimulus for British cuisine's poor international reputation.
British dishes include fish and chips, the Sunday roast, and bangers and mash. British cuisine has several national and regional varieties, including English, Scottish and Welsh cuisine, each of which has developed its own regional or local dishes, many of which are geographically indicated foods such as Cheddar cheese, Cheshire cheese, the Yorkshire pudding, Arbroath Smokie, Cornish pasty and Welsh cakes.
The British are the second largest per capita tea consumers in the world, consuming an average of per person each year. British tea culture dates back to the 19th century, when India was part of the British Empire and British interests controlled tea production in the subcontinent.
Languages
There is no single British language, though English is by far the main language spoken by British citizens, being spoken monolingually by more than 70% of the UK population. English is therefore the de facto official language of the United Kingdom. However, under the European Charter for Regional or Minority Languages, the Welsh, Scottish Gaelic, Cornish, Irish Gaelic, Ulster Scots, Manx, Scots and Lowland Scots languages are officially recognised as Regional or Minority languages by the UK Government. Insular varieties of Norman are recognised languages of the Bailiwicks of Jersey and Guernsey, although they are dying. Standard French is an official language of both bailiwicks. As indigenous languages which continue to be spoken as a first language by native inhabitants, Welsh and Scottish Gaelic have a different legal status from other minority languages. In some parts of the UK, some of these languages are commonly spoken as a first language; in wider areas, their use in a bilingual context is sometimes supported or promoted by central or local government policy. For naturalisation purposes, a competence standard of English, Scottish Gaelic or Welsh is required to pass the life in the United Kingdom test. However, English is used routinely, and although considered culturally important, Scottish Gaelic and Welsh are much less used.
Throughout the United Kingdom there are distinctive spoken expressions and regional accents of English, which are seen to be symptomatic of a locality's culture and identity. An awareness and knowledge of accents in the United Kingdom can "place, within a few miles, the locality in which a man or woman has grown up".
Literature
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
Famous authors include some of the world's most studied and praised writers. William Shakespeare and Christopher Marlowe defined England's Elizabethan period. The British Romantic movement was one of the strongest and most recognisable in Europe. The poets William Blake, Wordsworth and Coleridge were amongst the pioneers of Romanticism in literature. Other Romantic writers that followed these figure further enhanced the profile of Romanticism in Europe, such as John Keats, Percy Bysshe Shelley and Lord Byron. Later periods like the Victorian Era saw a further flourishing of British writing, including Charles Dickens and William Thackeray.
Women's literature in Britain has had a long and often troubled history, with many female writers producing work under a pen name, such as George Eliot. Other great female novelists that have contributed to world literature are Frances Burney, Frances Hodgson Burnett, Virginia Woolf, Jane Austen and the Brontë sisters, Emily, Charlotte and Anne.
Non-fiction has also played an important role in the history of British letters, with the first dictionary of the English language being produced and compiled by Samuel Johnson, a graduate of Oxford University and a London resident.
Media and music
Although cinema, theatre, dance and live music are popular, the favourite pastime of the British is watching television. Public broadcast television in the United Kingdom began in 1936, with the launch of the BBC Television Service (now BBC One). In the United Kingdom and the Crown dependencies, one must have a television licence to legally receive any broadcast television service, from any source. This includes the commercial channels, cable and satellite transmissions, and the Internet. Revenue generated from the television licence is used to provide radio, television and Internet content for the British Broadcasting Corporation, and Welsh language television programmes for S4C. The BBC, the common abbreviation of the British Broadcasting Corporation, is the world's largest broadcaster. Unlike other broadcasters in the UK, it is a public service based, quasi-autonomous, statutory corporation run by the BBC Trust. Free-to-air terrestrial television channels available on a national basis are BBC One, BBC Two, ITV, Channel 4 (S4C in Wales), and Five.
100 Greatest British Television Programmes was a list compiled by the British Film Institute in 2000, chosen by a poll of industry professionals, to determine what were the greatest British television programmes of any genre ever to have been screened. Topping the list was Fawlty Towers, a British sitcom set in a fictional Torquay hotel starring John Cleese.
"British musical tradition is essentially vocal", dominated by the music of England and Germanic culture, most greatly influenced by hymns and Anglican church music. However, the specific, traditional music of Wales and music of Scotland is distinct, and of the Celtic musical tradition. In the United Kingdom, more people attend live music performances than football matches. British rock was born in the mid-20th century out of the influence of rock and roll and rhythm and blues from the United States. Major early exports were The Beatles, The Rolling Stones, The Who and The Kinks. Together with other bands from the United Kingdom, these constituted the British Invasion, a popularisation of British pop and rock music in the United States. Into the 1970s heavy metal, new wave, and 2 tone. Britpop is a subgenre of alternative rock that emerged from the British independent music scene of the early 1990s and was characterised by bands reviving British guitar pop music of the 1960s and 1970s. Leading exponents of Britpop were Blur, Oasis and Pulp. Also popularised in the United Kingdom during the 1990s were several domestically produced varieties of electronic dance music; acid house, UK hard house, jungle, UK garage which in turn have influenced grime and British hip hop in the 2000s. The BRIT Awards are the British Phonographic Industry's annual awards for both international and British popular music.
Religion
Historically, Christianity has been the most influential and important religion in Britain, and it remains the declared faith of the majority of the British people. The influence of Christianity on British culture has been "widespread, extending beyond the spheres of prayer and worship. Churches and cathedrals make a significant contribution to the architectural landscape of the nation's cities and towns" whilst "many schools and hospitals were founded by men and women who were strongly influenced by Christian motives". Throughout the United Kingdom, Easter and Christmas, the "two most important events in the Christian calendar", are recognised as public holidays.
Christianity remains the major religion of the population of the United Kingdom in the 21st century, followed by Islam, Hinduism, Sikhism and then Judaism in terms of numbers of adherents. The 2007 Tearfund Survey revealed 53% identified themselves as Christian, which was similar to the 2004 British Social Attitudes Survey, and to the United Kingdom Census 2001 in which 71.6% said that Christianity was their religion, However, the Tearfund Survey showed only one in ten Britons attend church weekly. Secularism was advanced in Britain during the Age of Enlightenment, and modern British organisations such as the British Humanist Association and the National Secular Society offer the opportunity for their members to "debate and explore the moral and philosophical issues in a non-religious setting".
The Treaty of Union that led to the formation of the Kingdom of Great Britain ensured that there would be a Protestant succession as well as a link between church and state that still remains. The Church of England (Anglican) is legally recognised as the established church, and so retains representation in the Parliament of the United Kingdom through the Lords Spiritual, whilst the British monarch is a member of the church as well as its Supreme Governor. The Church of England also retains the right to draft legislative measures (related to religious administration) through the General Synod that can then be passed into law by Parliament. The Roman Catholic Church in England and Wales is the second largest Christian church with around five million members, mainly in England. There are also growing Orthodox, Evangelical and Pentecostal churches, with Pentecostal churches in England now third after the Church of England and the Roman Catholic Church in terms of church attendance. Other large Christian groups include Methodists and Baptists.
The Presbyterian Church of Scotland (known informally as The Kirk), is recognised as the national church of Scotland and not subject to state control. The British monarch is an ordinary member and is required to swear an oath to "defend the security" of the church upon his or her accession. The Roman Catholic Church in Scotland is Scotland's second largest Christian church, with followers representing a sixth of the population of Scotland. The Scottish Episcopal Church, which is part of the Anglican Communion, dates from the final establishment of Presbyterianism in Scotland in 1690, when it split from the Church of Scotland over matters of theology and ritual. Further splits in the Church of Scotland, especially in the 19th century, led to the creation of other Presbyterian churches in Scotland, including the Free Church of Scotland. In the 1920s, the Church in Wales became independent from the Church of England and became 'disestablished' but remains in the Anglican Communion. Methodism and other Protestant churches have had a major presence in Wales. The main religious groups in Northern Ireland are organised on an all-Ireland basis. Though collectively Protestants constitute the overall majority, the Roman Catholic Church of Ireland is the largest single church. The Presbyterian Church in Ireland, closely linked to the Church of Scotland in terms of theology and history, is the second largest church followed by the Church of Ireland (Anglican) which was disestablished in the 19th century.
Sport
Sport is an important element of British culture, and is one of the most popular leisure activities of Britons. Within the United Kingdom, nearly half of all adults partake in one or more sporting activity each week. Some of the major sports in the United Kingdom "were invented by the British", including football, rugby union, rugby league and cricket, and "exported various other games" including tennis, badminton, boxing, golf, snooker and squash.
In most sports, separate organisations, teams and clubs represent the individual countries of the United Kingdom at international level, though in some sports, like rugby union, an all-Ireland team represents both Northern Ireland and Ireland (Republic of), and the British and Irish Lions represent Ireland and Britain as a whole. The UK is represented by a single team at the Olympic Games and at the 2012 Summer Olympics, the Great Britain team won 65 medals: 29 gold (the most since the 1908 Summer Olympics), 17 silver and 19 bronze, ranking them 3rd. In total, sportsmen and women from the UK "hold over 50 world titles in a variety of sports, such as professional boxing, rowing, snooker, squash and motorcycle sports".
A 2006 poll found that association football was the most popular sport in the UK. In England 320 football clubs are affiliated to The Football Association (FA) and more than 42,000 clubs to regional or district associations. The FA, founded in 1863, and the Football League, founded in 1888, were both the first of their kind in the world. In Scotland there are 78 full and associate clubs and nearly 6,000 registered clubs under the jurisdiction of the Scottish Football Association. Two Welsh clubs play in England's Football League and others at non-league level, whilst the Welsh Football League contains 20 semi-professional clubs. In Northern Ireland, 12 semi-professional clubs play in the IFA Premiership, the second oldest league in the world.
Recreational fishing, particularly angling, is one of the most popular participation activities in the United Kingdom, with an estimated 3–4 million anglers in the country. The most widely practised form of angling in England and Wales is for coarse fish while in Scotland angling is usually for salmon and trout.
Visual art and architecture
For centuries, artists and architects in Britain were overwhelmingly influenced by Western art history. Amongst the first visual artists credited for developing a distinctly British aesthetic and artistic style is William Hogarth. The experience of military, political and economic power from the rise of the British Empire, led to a very specific drive in artistic technique, taste and sensibility in the United Kingdom. Britons used their art "to illustrate their knowledge and command of the natural world", whilst the permanent settlers in British North America, Australasia, and South Africa "embarked upon a search for distinctive artistic expression appropriate to their sense of national identity". The empire has been "at the centre, rather than in the margins, of the history of British art", and imperial British visual arts have been fundamental to the construction, celebration and expression of Britishness.
British attitudes to modern art were "polarised" at the end of the 19th century. Modernist movements were both cherished and vilified by artists and critics; Impressionism was initially regarded by "many conservative critics" as a "subversive foreign influence", but became "fully assimilated" into British art during the early-20th century. Representational art was described by Herbert Read during the interwar period as "necessarily... revolutionary", and was studied and produced to such an extent that by the 1950s, Classicism was effectively void in British visual art. Post-modern, contemporary British art, particularly that of the Young British Artists, has been pre-occupied with postcolonialism, and "characterised by a fundamental concern with material culture ... perceived as a post-imperial cultural anxiety".
Architecture of the United Kingdom is diverse; most influential developments have usually taken place in England, but Ireland, Scotland, and Wales have at various times played leading roles in architectural history. Although there are prehistoric and classical structures in the British Isles, British architecture effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities. Secular medieval architecture throughout Britain has left a legacy of large stone castles, with the "finest examples" being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitiated the development of new artistic styles for domestic architecture: Tudor style, English Baroque, The Queen Anne Style and Palladian. Georgian and Neoclassical architecture advanced after the Scottish Enlightenment. Outside the United Kingdom, the influence of British architecture is particularly strong in South India, the result of British rule in India in the 19th century. The Indian cities of Bangalore, Chennai, and Mumbai each have courts, hotels and train stations designed in British architectural styles of Gothic Revivalism and neoclassicism.
Political culture
British political culture is tied closely with its institutions and civics, and a "subtle fusion of new and old values". The principle of constitutional monarchy, with its notions of stable parliamentary government and political liberalism, "have come to dominate British culture". These views have been reinforced by Sir Bernard Crick who said:
British political institutions include the Westminster system, the Commonwealth of Nations and Privy Council of the United Kingdom. Although the Privy Council is primarily a British institution, officials from other Commonwealth realms are also appointed to the body. The most notable continuing instance is the Prime Minister of New Zealand, its senior politicians, Chief Justice and Court of Appeal judges are conventionally made Privy Counsellors, as the prime ministers and chief justices of Canada and Australia used to be. Prime Ministers of Commonwealth countries which retain the British monarch as their sovereign continue to be sworn as Privy Counsellors.
Universal suffrage for all males over 21 was granted in 1918 and for adult women in 1928 after the Suffragette movement. Politics in the United Kingdom is multi-party, with three dominant political parties: the Conservative Party, the Labour Party and the Scottish National Party. The social structure of Britain, specifically social class, has "long been pre-eminent among the factors used to explain party allegiance", and still persists as "the dominant basis" of party political allegiance for Britons. The Conservative Party is descended from the historic Tory Party (founded in England in 1678), and is a centre-right conservative political party, which traditionally draws support from the middle classes. The Labour Party (founded by Scotsman Keir Hardie) grew out of the trade union movement and socialist political parties of the 19th century, and continues to describe itself as a "democratic socialist party". Labour states that it stands for the representation of the low-paid working class, who have traditionally been its members and voters. The Scottish National Party is the third largest political party in the UK in terms of both party membership and representation in parliament, having won 56 out of 59 Scottish seats at the 2015 General Election. The Liberal Democrats are a liberal political party, and fourth largest in England in terms of membership and MPs elected. It is descended from the Liberal Party, a major ruling party of 19th-century UK through to the First World War, when it was supplanted by the Labour Party. The Liberal Democrats have historically drawn support from wide and "differing social backgrounds". There are over 300 other, smaller political parties in the United Kingdom registered to the Electoral Commission.
Classification
According to the British Social Attitudes Survey, there are broadly two interpretations of British identity, with ethnic and civic dimensions:
Of the two perspectives of British identity, the civic definition has become "the dominant idea ... by far", and in this capacity, Britishness is sometimes considered an institutional or overarching state identity. This has been used to explain why first-, second- and third-generation immigrants are more likely to describe themselves as British, rather than English, because it is an "institutional, inclusive" identity, that can be acquired through naturalisation and British nationality law; the vast majority of people in the United Kingdom who are from an ethnic minority feel British.
However, this attitude is more common in England than in Scotland or Wales; "white English people perceived themselves as English first and as British second, and most people from ethnic minority backgrounds perceived themselves as British, but none identified as English, a label they associated exclusively with white people". Contrawise, in Scotland and Wales, White British and ethnic minority people both identified more strongly with Scotland and Wales than with Britain.
Studies and surveys have "reported that the majority of the Scots and Welsh see themselves as both Scottish/Welsh and British though with some differences in emphasis". The Commission for Racial Equality found that with respect to notions of nationality in Britain, "the most basic, objective and uncontroversial conception of the British people is one that includes the English, the Scots and the Welsh". However, "English participants tended to think of themselves as indistinguishably English or British, while both Scottish and Welsh participants identified themselves much more readily as Scottish or Welsh than as British".
Some persons opted "to combine both identities" as "they felt Scottish or Welsh, but held a British passport and were therefore British", whereas others saw themselves as exclusively Scottish or exclusively Welsh and "felt quite divorced from the British, whom they saw as the English". Commentators have described this latter phenomenon as "nationalism", a rejection of British identity because some Scots and Welsh interpret it as "cultural imperialism imposed" upon the United Kingdom by "English ruling elites", or else a response to a historical misappropriation of equating the word "English" with "British", which has "brought about a desire among Scots, Welsh and Irish to learn more about their heritage and distinguish themselves from the broader British identity".
See also
Anti-British sentiment
Lists of British people
100 Greatest Britons
References
Citations
Sources
Further reading
External links
British society
Ethnic groups in the United Kingdom | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
]
|
[
"British people",
"Union and the development of Britishness",
"Who became united?",
"the Kingdoms of England and Scotland",
"What led to their union?",
"drawing increasingly together\" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603.",
"Are there any other interesting aspects about this article?",
"the Age of Discovery gave new-found imperial power and wealth to the English and Welsh"
]
| C_a479cbb94c45445996c5347a9527d23e_0 | What was the Age of Discovery? | 4 | What was the Age of Discovery? | British people | Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures--the Bill of Rights 1689 and Claim of Right Act 1689 respectively--which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations. While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet--the colony of New Caledonia--on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost. The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme. CANNOTANSWER | English maritime explorations | The British people or Britons, also known colloquially as Brits, are the citizens of the United Kingdom of Great Britain and Northern Ireland, the British Overseas Territories, and the Crown dependencies. British nationality law governs modern British citizenship and nationality, which can be acquired, for instance, by descent from British nationals. When used in a historical context, "British" or "Britons" can refer to the Ancient Britons, the indigenous inhabitants of Great Britain and Brittany, whose surviving members are the modern Welsh people, Cornish people, and Bretons. It also refers to citizens of the former British Empire, who settled in the country prior to 1973, and hold neither UK citizenship nor nationality.
Though early assertions of being British date from the Late Middle Ages, the Union of the Crowns in 1603 and the creation of the Kingdom of Great Britain in 1707 triggered a sense of British national identity. The notion of Britishness and a shared British identity was forged during the 18th century and early 19th century when Britain engaged in several global conflicts with France, and developed further during the Victorian era. The complex history of the formation of the United Kingdom created a "particular sense of nationhood and belonging" in Great Britain and Ireland; Britishness became "superimposed on much older identities", of English, Scots, Welsh, and Irish cultures, whose distinctiveness still resists notions of a homogenised British identity. Because of longstanding ethno-sectarian divisions, British identity in Northern Ireland is controversial, but it is held with strong conviction by Unionists.
Modern Britons are descended mainly from the varied ethnic groups that settled in Great Britain in and before the 11th century: Prehistoric, Brittonic, Roman, Anglo-Saxon, Norse, and Normans. The progressive political unification of the British Isles facilitated migration, cultural and linguistic exchange, and intermarriage between the peoples of England, Scotland and Wales during the late Middle Ages, early modern period and beyond. Since 1922 and earlier, there has been immigration to the United Kingdom by people from what is now the Republic of Ireland, the Commonwealth, mainland Europe and elsewhere; they and their descendants are mostly British citizens, with some assuming a British, dual or hyphenated identity. This includes the groups Black British and Asian British people, which together constitute around 10% of the British population.
The British are a diverse, multinational, multicultural and multilingual society, with "strong regional accents, expressions and identities". The social structure of the United Kingdom has changed radically since the 19th century, with a decline in religious observance, enlargement of the middle class, and increased ethnic diversity, particularly since the 1950s, when citizens of the British Empire were encouraged to immigrate to Britain to work as part of the recovery from World War II. The population of the UK stands at around 66 million, with a British diaspora of around 140 million concentrated in the United States, Australia, Canada, and New Zealand, with smaller concentrations in the Republic of Ireland, Chile, South Africa, and parts of the Caribbean.
History of the term
The earliest known reference to the inhabitants of Great Britain may have come from 4th century BC records of the voyage of Pytheas, a Greek geographer who made a voyage of exploration around the British Isles. Although none of his own writings remain, writers during the time of the Roman Empire made much reference to them. Pytheas called the islands collectively (hai Brettaniai), which has been translated as the Brittanic Isles, and the peoples of what are today England, Wales, Scotland and the Isle of Man of Prettanike were called the (Prettanoi), Priteni, Pritani or Pretani.
The group included Ireland, which was referred to as Ierne (Insula sacra "sacred island" as the Greeks interpreted it) "inhabited by the different race of Hiberni" (gens hibernorum), and Britain as insula Albionum, "island of the Albions". The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.
Greek and Roman writers, in the 1st century BC and the 1st century AD, name the inhabitants of Great Britain and Ireland as the Priteni, the origin of the Latin word Britanni. It has been suggested that this name derives from a Gaulish description translated as "people of the forms", referring to the custom of tattooing or painting their bodies with blue woad made from Isatis tinctoria. Parthenius, a 1st-century Ancient Greek grammarian, and the Etymologicum Genuinum, a 9th-century lexical encyclopaedia, mention a mythical character Bretannus (the Latinised form of the , Brettanós) as the father of Celtine, mother of Celtus, the eponymous ancestor of the Celts.
By 50 BC Greek geographers were using equivalents of Prettanikē as a collective name for the British Isles. However, with the Roman conquest of Britain the Latin term Britannia was used for the island of Great Britain, and later Roman-occupied Britain south of Caledonia (modern day Scotland north of the rivers Forth & Clyde), although the people of Caledonia and the north were also the self same Britons during the Roman period, the Gaels arriving four centuries later. Following the end of Roman rule in Britain, the island of Great Britain was left open to invasion by pagan, seafaring warriors such as Germanic-speaking Anglo-Saxons and Jutes from Continental Europe, who gained control in areas around the south east, and to Middle Irish-speaking people migrating from what is today Northern Ireland to the north of Great Britain (modern Scotland), founding Gaelic kingdoms such as Dál Riata and Alba, which would eventually subsume the native Brittonic and Pictish kingdoms and become Scotland.
In this sub-Roman Britain, as Anglo-Saxon culture spread across southern and eastern Britain and Gaelic through much of the north, the demonym "Briton" became restricted to the Brittonic-speaking inhabitants of what would later be called Wales, Cornwall, North West England (Cumbria), and a southern part of Scotland(Strathclyde). In addition the term was also applied to Brittany in what is today France and Britonia in north west Spain, both regions having been colonised by Britons in the 5th century fleeing the Anglo-Saxon invasions. However, the term Britannia persisted as the Latin name for the island. The Historia Brittonum claimed legendary origins as a prestigious genealogy for Brittonic kings, followed by the Historia Regum Britanniae which popularised this pseudo-history to support the claims of the Kings of England.
During the Middle Ages, and particularly in the Tudor period, the term "British" was used to refer to the Welsh people and Cornish people. At that time, it was "the long held belief that these were the remaining descendants of the Britons and that they spoke 'the British tongue. This notion was supported by texts such as the Historia Regum Britanniae, a pseudohistorical account of ancient British history, written in the mid-12th century by Geoffrey of Monmouth. The Historia Regum Britanniae chronicled the lives of legendary kings of the Britons in a narrative spanning 2000 years, beginning with the Trojans founding the ancient British nation and continuing until the Anglo-Saxon settlement of Britain in the 7th century forced the Britons to the west, i.e. Wales and Cornwall, and north, i.e. Cumbria, Strathclyde and northern Scotland. This legendary Celtic history of Great Britain is known as the Matter of Britain. The Matter of Britain, a national myth, was retold or reinterpreted in works by Gerald of Wales, a Cambro-Norman chronicler who in the 12th and 13th centuries used the term British to refer to the people later known as the Welsh.
History
Ancestral roots
The indigenous people of the British Isles have a combination of Celtic, Anglo-Saxon, Norse and Norman ancestry.
Between the 8th and 11th centuries, "three major cultural divisions" had emerged in Great Britain: the English, the Scots and the Welsh, the earlier Brittonic Celtic polities in what are today England and Scotland having finally been absorbed into Anglo-Saxon England and Gaelic Scotland by the early 11th century. The English had been unified under a single nation state in 937 by King Athelstan of Wessex after the Battle of Brunanburh. Before then, the English (known then in Old English as the Anglecynn) were under the governance of independent Anglo-Saxon petty kingdoms which gradually coalesced into a Heptarchy of seven powerful states, the most powerful of which were Mercia and Wessex. Scottish historian and archaeologist Neil Oliver said that the Battle of Brunanburh would "define the shape of Britain into the modern era", it was a "showdown for two very different ethnic identities – a Norse Celtic alliance versus Anglo Saxon. It aimed to settle once and for all whether Britain would be controlled by a single imperial power or remain several separate independent kingdoms, a split in perceptions which is still very much with us today". However, historian Simon Schama suggested that it was Edward I of England who was solely "responsible for provoking the peoples of Britain into an awareness of their nationhood" in the 13th century. Schama hypothesised that Scottish national identity, "a complex amalgam" of Gaelic, Brittonic, Pictish, Norsemen and Anglo-Norman origins, was not finally forged until the Wars of Scottish Independence against the Kingdom of England in the late 13th and early 14th centuries.
Though Wales was conquered by England, and its legal system replaced by that of the Kingdom of England under the Laws in Wales Acts 1535–1542, the Welsh endured as a nation distinct from the English, and to some degree the Cornish people, although conquered into England by the 11th century, also retained a distinct Brittonic identity and language. Later, with both an English Reformation and a Scottish Reformation, Edward VI of England, under the counsel of Edward Seymour, 1st Duke of Somerset, advocated a union with the Kingdom of Scotland, joining England, Wales, and Scotland in a united Protestant Great Britain. The Duke of Somerset supported the unification of the English, Welsh and Scots under the "indifferent old name of Britons" on the basis that their monarchies "both derived from a Pre-Roman British monarchy".
Following the death of Elizabeth I of England in 1603, the throne of England was inherited by James VI, King of Scots, so that the Kingdom of England and the Kingdom of Scotland were united in a personal union under James VI of Scotland and I of England, an event referred to as the Union of the Crowns. King James advocated full political union between England and Scotland, and on 20 October 1604 proclaimed his assumption of the style "King of Great Britain", though this title was rejected by both the Parliament of England and the Parliament of Scotland, and so had no basis in either English law or Scots law.
Union and the development of Britishness
Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures—the Bill of Rights 1689 and Claim of Right Act 1689 respectively—which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations.
While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet—the colony of New Caledonia—on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost.
The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme.
Union of Scotland and England
Despite opposition from within both Scotland and England, a Treaty of Union was agreed in 1706 and was then ratified by the parliaments of both countries with the passing of the Acts of Union 1707. With effect from 1 May 1707, this created a new sovereign state called the "Kingdom of Great Britain". This kingdom "began as a hostile merger", but led to a "full partnership in the most powerful going concern in the world"; historian Simon Schama stated that "it was one of the most astonishing transformations in European history".
After 1707, a British national identity began to develop, though it was initially resisted, particularly by the English. The peoples of Great Britain had by the 1750s begun to assume a "layered identity": to think of themselves as simultaneously British and also Scottish, English, or Welsh.
The terms North Briton and South Briton were devised for the Scots and the English respectively, with the former gaining some preference in Scotland, particularly by the economists and philosophers of the Scottish Enlightenment. Indeed, it was the "Scots [who] played key roles in shaping the contours of British identity"; "their scepticism about the Union allowed the Scots the space and time in which
to dominate the construction of Britishness in its early crucial years", drawing upon the notion of a shared "spirit of liberty common to both Saxon and Celt ... against the usurpation of the Church of Rome". James Thomson was a poet and playwright born to a Church of Scotland minister in the Scottish Lowlands in 1700 who was interested in forging a common British culture and national identity in this way. In collaboration with Thomas Arne, they wrote Alfred, an opera about Alfred the Great's victory against the Vikings performed to Frederick, Prince of Wales in 1740 to commemorate the accession of George I and the birthday of Princess Augusta. "Rule, Britannia!" was the climactic piece of the opera and quickly became a "jingoistic" British patriotic song celebrating "Britain's supremacy offshore". An island country with a series of victories for the Royal Navy associated empire and naval warfare "inextricably with ideals of Britishness and Britain's place in the world".
Britannia, the new national personification of Great Britain, was established in the 1750s as a representation of "nation and empire rather than any single national hero". On Britannia and British identity, historian Peter Borsay wrote:
From the Union of 1707 through to the Battle of Waterloo in 1815, Great Britain was "involved in successive, very dangerous wars with Catholic France", but which "all brought enough military and naval victories ... to flatter British pride". As the Napoleonic Wars with the First French Empire advanced, "the English and Scottish learned to define themselves as similar primarily by virtue of not being French or Catholic". In combination with sea power and empire, the notion of Britishness became more "closely bound up with Protestantism", a cultural commonality through which the English, Scots and Welsh became "fused together, and remain[ed] so, despite their many cultural divergences".
The neo-classical monuments that proliferated at the end of the 18th century and the start of the 19th century, such as The Kymin at Monmouth, were attempts to meld the concepts of Britishness with the Greco-Roman empires of classical antiquity. The new and expanding British Empire provided "unprecedented opportunities for upward mobility and the accumulations of wealth", and so the "Scottish, Welsh and Irish populations were prepared to suppress nationalist issues on pragmatic grounds". The British Empire was "crucial to the idea of a British identity and to the self-image of Britishness". Indeed, the Scottish welcomed Britishness during the 19th century "for it offered a context within which they could hold on to their own identity whilst participating in, and benefiting from, the expansion of the [British] Empire". Similarly, the "new emphasis of Britishness was broadly welcomed by the Welsh who considered themselves to be the lineal descendants of the ancient Britons – a word that was still used to refer exclusively to the Welsh". For the English, however, by the Victorian era their enthusiastic adoption of Britishness had meant that, for them, Britishness "meant the same as 'Englishness'", so much so that "Englishness and Britishness" and "'England' and 'Britain' were used interchangeably in a variety of contexts". Britishness came to borrow heavily from English political history because England had "always been the dominant component of the British Isles in terms of size, population and power"; Magna Carta, common law and hostility to continental Europe were English factors that influenced British sensibilities.
Union with Ireland
The political union in 1800 of the predominantly Catholic Kingdom of Ireland with Great Britain, coupled with the outbreak of peace with France in the early 19th century, challenged the previous century's concept of militant Protestant Britishness. The new, expanded United Kingdom of Great Britain and Ireland meant that the state had to re-evaluate its position on the civil rights of Catholics, and extend its definition of Britishness to the Irish people. Like the terms that had been invented at the time of the Acts of Union 1707, "West Briton" was introduced for the Irish after 1800. In 1832 Daniel O'Connell, an Irish politician who campaigned for Catholic Emancipation, stated in Britain's House of Commons:
Ireland, from 1801 to 1923, was marked by a succession of economic and political mismanagement and neglect, which marginalised the Irish, and advanced Irish nationalism. In the forty years that followed the Union, successive British governments grappled with the problems of governing a country which had as Benjamin Disraeli, a staunch anti-Irish and anti-Catholic member of the Conservative party with a virulent racial and religious prejudice towards Ireland put it in 1844, "a starving population, an absentee aristocracy, and an alien Church, and in addition the weakest executive in the world". Although the vast majority of Unionists in Ireland proclaimed themselves "simultaneously Irish and British", even for them there was a strain upon the adoption of Britishness after the Great Famine.
War continued to be a unifying factor for the people of Great Britain: British jingoism re-emerged during the Boer Wars in southern Africa. The experience of military, political and economic power from the rise of the British Empire led to a very specific drive in artistic technique, taste and sensibility for Britishness. In 1887, Frederic Harrison wrote:
The Catholic Relief Act 1829 reflected a "marked change in attitudes" in Great Britain towards Catholics and Catholicism. A "significant" example of this was the collaboration between Augustus Welby Pugin, an "ardent Roman Catholic" and son of a Frenchman, and Sir Charles Barry, "a confirmed Protestant", in redesigning the Palace of Westminster—"the building that most enshrines ... Britain's national and imperial pre-tensions". Protestantism gave way to imperialism as the leading element of British national identity during the Victorian and Edwardian eras, and as such, a series of royal, imperial and national celebrations were introduced to the British people to assert imperial British culture and give themselves a sense of uniqueness, superiority and national consciousness. Empire Day and jubilees of Queen Victoria were introduced to the British middle class, but quickly "merged into a national 'tradition'".
Modern period
The First World War "reinforced the sense of Britishness" and patriotism in the early 20th century. Through war service (including conscription in Great Britain), "the English, Welsh, Scots and Irish fought as British". The aftermath of the war institutionalised British national commemoration through Remembrance Sunday and the Poppy Appeal. The Second World War had a similar unifying effect upon the British people, however, its outcome was to recondition Britishness on a basis of democratic values and its marked contrast to Europeanism. Notions that the British "constituted an Island race, and that it stood for democracy were reinforced during the war and they were circulated in the country through Winston Churchill's speeches, history books and newspapers".
At its international zenith, "Britishness joined peoples around the world in shared traditions and common loyalties that were strenuously maintained". But following the two world wars, the British Empire experienced rapid decolonisation. The secession of the Irish Free State from the United Kingdom meant that Britishness had lost "its Irish dimension" in 1922, and the shrinking empire supplanted by independence movements dwindled the appeal of British identity in the Commonwealth of Nations during the mid-20th century.
Since the British Nationality Act 1948 and the subsequent mass immigration to the United Kingdom from the Commonwealth and elsewhere in the world, "the expression and experience of cultural life in Britain has become fragmented and reshaped by the influences of gender, ethnicity, class and region". Furthermore, the United Kingdom's membership of the European Economic Community in 1973 eroded the concept of Britishness as distinct from continental Europe. As such, since the 1970s "there has been a sense of crisis about what it has meant to be British", exacerbated by growing demands for greater political autonomy for Northern Ireland, Scotland, and Wales.
The late 20th century saw major changes to the politics of the United Kingdom with the establishment of devolved national administrations for Northern Ireland, Scotland, and Wales following pre-legislative referendums. Calls for greater autonomy for the four countries of the United Kingdom had existed since their original union with each other, but gathered pace in the 1960s and 1970s. Devolution has led to "increasingly assertive Scottish, Welsh and Irish national identities", resulting in more diverse cultural expressions of Britishness, or else its outright rejection: Gwynfor Evans, a Welsh nationalist politician active in the late 20th century, rebuffed Britishness as "a political synonym for Englishness which extends English culture over the Scots, Welsh and the Irish".
In 2004 Sir Bernard Crick, political theorist and democratic socialist tasked with developing the life in the United Kingdom test said:
Gordon Brown initiated a debate on British identity in 2006. Brown's speech to the Fabian Society's Britishness Conference proposed that British values demand a new constitutional settlement and symbols to represent a modern patriotism, including a new youth community service scheme and a British Day to celebrate. One of the central issues identified at the Fabian Society conference was how the English identity fits within the framework of a devolved United Kingdom. An expression of Her Majesty's Government's initiative to promote Britishness was the inaugural Veterans' Day which was first held on 27 June 2006. As well as celebrating the achievements of armed forces veterans, Brown's speech at the first event for the celebration said:
In 2018, the Windrush scandal illustrated complex developments in British peoplehood, when it was revealed hundreds of Britons had been wrongfully deported. With roots in the break-up of the empire, and post-war rebuilding; the Windrush generation had arrived as CUKC citizens in the 1950s and 1960s. Born in former British colonies, they settled in the UK before 1973, and were granted “right of abode” by the Immigration Act 1971. Having faced removal, or been deported, many British people of African Caribbean heritage suffered with loss of home, livelihood, and health. As a result of the political scandal, many institutions and elected politicians publicly affirmed that these individuals, while not legally holding British citizenship or nationality, were, in fact, British people. These included British Prime Minister Theresa May, London Mayor Sadiq Khan, Her Majesty's CPS Inspectorate Wendy Williams and her House of Commons-ordered Windrush Lessons Learned Review, the Chartered Institute of Housing, Amnesty International, University of Oxford's social geographer Danny Dorling, and other public figures.
Geographic distribution
The earliest migrations of Britons date from the 5th and 6th centuries AD, when Brittonic Celts fleeing the Anglo-Saxon invasions migrated what is today northern France and north western Spain and forged the colonies of Brittany and Britonia. Brittany remained independent of France until the early 16th century and still retains a distinct Brittonic culture and language, whilst Britonia in modern Galicia was absorbed into Spanish states by the end of the 9th century AD.
Britons – people with British citizenship or of British descent – have a significant presence in a number of countries other than the United Kingdom, and in particular in those with historic connections to the British Empire. After the Age of Discovery, the British were one of the earliest and largest communities to emigrate out of Europe, and the British Empire's expansion during the first half of the 19th century triggered an "extraordinary dispersion of the British people", resulting in particular concentrations "in Australasia and North America".
The British Empire was "built on waves of migration overseas by British people", who left the United Kingdom and "reached across the globe and permanently affected population structures in three continents". As a result of the British colonisation of the Americas, what became the United States was "easily the greatest single destination of emigrant British", but in Australia the British experienced a birth rate higher than "anything seen before", resulting in the displacement of indigenous Australians.
In colonies such as Southern Rhodesia, British East Africa and Cape Colony, permanently resident British communities were established and whilst never more than a numerical minority, these Britons "exercised a dominant influence" upon the culture and politics of those lands. In Australia, Canada and New Zealand, "people of British origin came to constitute the majority of the population" contributing to these states becoming integral to the Anglosphere.
The United Kingdom Census 1861 estimated the size of the overseas British to be around 2.5 million, but concluded that most of these were "not conventional settlers" but rather "travellers, merchants, professionals, and military personnel". By 1890, there were over 1.5 million further UK-born people living in Australia, Canada, New Zealand and South Africa. A 2006 publication from the Institute for Public Policy Research estimated 5.6 million Britons lived outside of the United Kingdom.
Outside of the United Kingdom and its Overseas Territories, the largest proportions of people of self-identified ethnic British descent in the world are found in New Zealand (59%), Australia (46%) and Canada (31%), followed by a considerably smaller minority in the United States (10.7%) and parts of the Caribbean. Hong Kong has the highest proportion of British citizens outside of the United Kingdom and its Overseas Territories, with 47% of Hong Kong residents holding a British National (Overseas) citizenship or a British citizenship.
Australia
From the beginning of Australia's colonial period until after the Second World War, people from the United Kingdom made up a large majority of people coming to Australia, meaning that many people born in Australia can trace their origins to Britain. The colony of New South Wales, founded on 26 January 1788, was part of the eastern half of Australia claimed by the Kingdom of Great Britain in 1770, and initially settled by Britons through penal transportation. Together with another five largely self-governing Crown Colonies, the federation of Australia was achieved on 1 January 1901.
Its history of British dominance meant that Australia was "grounded in British culture and political traditions that had been transported to the Australian colonies in the nineteenth century and become part of colonial culture and politics". Australia maintains the Westminster system of Parliamentary Government and Elizabeth II as Queen of Australia. Until 1987, the national status of Australian citizens was formally described as "British Subject: Citizen of Australia". Britons continue to make up a substantial proportion of immigrants.
By 1947, Australia was fundamentally British in origin with 7,524,129 or 99.3% of the population declaring themselves as European. In the most recent 2016 census, a large proportion of Australians self-identified with British ancestral origins, including 36.1% or 7,852,224 as English and 9.3% (2,023,474) as Scottish alone. A substantial proportion —33.5%— chose to identify as ‘Australian’, the census Bureau has stated that most of these are of Anglo-Celtic colonial stock.
All 6 states of Australia retain the Union Jack in the canton of their respective flags.
British Overseas Territories
The approximately 250,000 people of the British Overseas Territories are British by citizenship, via origins or naturalisation. Along with aspects of common British identity, each of them has their own distinct identity shaped in the respective particular circumstances of political, economic, ethnic, social and cultural history. For instance, in the case of the Falkland Islanders, Lewis Clifton the Speaker of the Legislative Council of the Falkland Islands, explains:
In contrast, for the majority of the Gibraltarians, who live in Gibraltar, there is an "insistence on their Britishness" which "carries excessive loyalty" to Britain. The sovereignty of Gibraltar has been a point of contention in Spain–United Kingdom relations, but an overwhelming number of Gibraltarians embrace Britishness with strong conviction, in direct opposition to Spanish territorial claims.
Canada
Canada traces its statehood to the French, English, and Scottish expeditions of North America from the late-15th century. France ceded nearly all of New France in 1763 after the Seven Years' War, and so after the United States Declaration of Independence in 1776, Quebec and Nova Scotia formed "the nucleus of the colonies that constituted Britain's remaining stake on the North American continent". British North America attracted the United Empire Loyalists, Britons who migrated out of what they considered the "rebellious" United States, increasing the size of British communities in what was to become Canada.
In 1867 there was a union of three colonies with British North America which together formed the Canadian Confederation, a federal dominion. This began an accretion of additional provinces and territories and a process of increasing autonomy from the United Kingdom, highlighted by the Statute of Westminster 1931 and culminating in the Canada Act 1982, which severed the vestiges of legal dependence on the parliament of the United Kingdom. Nevertheless, it is recognised that there is a "continuing importance of Canada's long and close relationship with Britain"; large parts of Canada's modern population claim "British origins" and the cultural impact of the British upon Canada's institutions is profound.
It was not until 1977 that the phrase "A Canadian citizen is a British subject" ceased to be used in Canadian passports. The politics of Canada are strongly influenced by British political culture. Although significant modifications have been made, Canada is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as The Queen of Canada and Head of State. English is the most commonly spoken language used in Canada and it is an official language of Canada.
British iconography remains present in the design of many Canadian flags, with 10 out of 13 Canadian provincial and territorial flags adopting some form of British symbolism in their design. The Union Jack is also an official ceremonial flag in Canada known as the Royal Union Flag which is flown outside of federal buildings three days of the year.
New Zealand
A long-term result of James Cook's voyage of 1768–1771, a significant number of New Zealanders are of British descent, for whom a sense of Britishness has contributed to their identity. As late as the 1950s, it was common for British New Zealanders to refer to themselves as British, such as when Prime Minister Keith Holyoake described Sir Edmund Hillary's successful ascent of Mount Everest as putting "the British race and New Zealand on top of the world". New Zealand passports described nationals as "British Subject: Citizen of New Zealand" until 1974, when this was changed to "New Zealand citizen".
In an interview with the New Zealand Listener in 2006, Don Brash, the then Leader of the Opposition, said:
The politics of New Zealand are strongly influenced by British political culture. Although significant modifications have been made, New Zealand is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as the head of the monarchy of New Zealand. English is the dominant official language used in New Zealand.
Hong Kong
British nationality law as it pertains to Hong Kong has been unusual ever since Hong Kong became a British colony in 1842. From its beginning as a sparsely populated trading port to its modern role as a cosmopolitan international financial centre of over seven million people, the territory has attracted refugees, immigrants and expatriates alike searching for a new life.
Citizenship matters were complicated by the fact that British nationality law treated those born in Hong Kong as British subjects (although they did not enjoy full rights and citizenship), while the People's Republic of China (PRC) did not recognise Hong Kong Chinese as such. The main reason for this was that recognising these people as British was seen as a tacit acceptance of a series of historical treaties that the PRC labelled as "unequal", including the ones which ceded Hong Kong Island, the Kowloon Peninsula and the New Territories to Britain. The British government, however, recognising the unique political situation of Hong Kong, granted 3.4 million Hong Kongers a new type of nationality known as British National (Overseas), which is established in accordance with the Hong Kong Act 1985. Among those 3.4 million people, there are many British Nationals (Overseas) who are eligible for full British citizenship. Both British Nationals (Overseas) and British citizens are British nationals and Commonwealth citizens according to the British Nationality Law, which enables them to various rights in the United Kingdom and the European Union.
United States
An English presence in North America began with the Roanoke Colony and Colony of Virginia in the late-16th century, but the first successful English settlement was established in 1607, on the James River at Jamestown. By the 1610s an estimated 1,300 English people had travelled to North America, the "first of many millions from the British Isles". In 1620, the Pilgrims established the English imperial venture of Plymouth Colony, beginning "a remarkable acceleration of permanent emigration from England" with over 60% of trans-Atlantic English migrants settling in the New England Colonies. During the 17th century, an estimated 350,000 English and Welsh migrants arrived in North America, which in the century after the Acts of Union 1707 was surpassed in rate and number by Scottish and Irish migrants.
The British policy of salutary neglect for its North American colonies intended to minimise trade restrictions as a way of ensuring they stayed loyal to British interests. This permitted the development of the American Dream, a cultural spirit distinct from that of its European founders. The Thirteen Colonies of British America began an armed rebellion against British rule in 1775 when they rejected the right of the Parliament of Great Britain to govern them without representation; they proclaimed their independence in 1776, and constituted the first thirteen states of the United States of America, which became a sovereign state in 1781 with the ratification of the Articles of Confederation. The 1783 Treaty of Paris represented Great Britain's formal acknowledgement of the United States' sovereignty at the end of the American Revolutionary War.
Nevertheless, longstanding cultural and historical ties have, in more modern times, resulted in the Special Relationship, the historically close political, diplomatic, and military co-operation between the United Kingdom and United States. Linda Colley, a professor of history at Princeton University and specialist in Britishness, suggested that because of their colonial influence on the United States, the British find Americans a "mysterious and paradoxical people, physically distant but culturally close, engagingly similar yet irritatingly different".
For over two centuries (1789-1989) of early U.S. history, all Presidents with the exception of two (Van Buren and Kennedy) were descended from the varied colonial British stock, from the Pilgrims and Puritans to the Scotch-Irish and English who settled the Appalachia.
The largest concentrations of self-reported British ethnic ancestry in the United States were found to be in Utah (35%), Maine (30%), New Hampshire (25%) and Vermont (25%) at the 2015 American Community Survey. Overall, 10.7% of Americans reported their ethnic ancestry as some form of "British" in the 2013–17 ACS, behind German and African ancestries and on par with Mexican and Irish ancestries.
Chile
Approximately 4% of Chile's population is of British or Irish descent. Over 50,000 British immigrants settled in Chile from 1840 to 1914. A significant number of them settled in Magallanes Province, especially in the city of Punta Arenas when it flourished as a major global seaport for ships crossing between the Atlantic and Pacific Oceans through the Strait of Magellan. Around 32,000 English settled in Valparaíso, influencing the port city to the extent of making it virtually a British colony during the last decades of the 19th century and the beginning of the 20th century. However, the opening of the Panama Canal in 1914 and the outbreak of the First World War drove many of them away from the city or back to Europe.
In Valparaíso, they created their largest and most important colony, bringing with them neighbourhoods of British character, schools, social clubs, sports clubs, business organisations and periodicals. Even today their influence is apparent in specific areas, such as the banks and the navy, as well as in certain social activities, such as football, horse racing, and the custom of drinking tea.
During the movement for independence (1818), it was mainly the British who formed the Chilean Navy, under the command of Lord Cochrane.
British investment helped Chile become prosperous and British seamen helped the Chilean navy become a strong force in the South Pacific. Chile won two wars, the first against the Peru-Bolivian Confederation and the second, the War of the Pacific, in 1878–79, against an alliance between Peru and Bolivia. The liberal-socialist "Revolution of 1891" introduced political reforms modelled on British parliamentary practice and lawmaking.
British immigrants were also important in the northern zone of the country during the saltpetre boom, in the ports of Iquique and Pisagua. The "King of Saltpetre", John Thomas North, was the principal tycoon of nitrate mining. The British legacy is reflected in the streets of the historic district of the city of Iquique, with the foundation of various institutions, such as the Club Hípico (Racing Club). Nevertheless, the British active presence came to an end with the saltpetre crisis during the 1930s.
Some Scots settled in the country's more temperate regions, where the climate and the forested landscape with glaciers and islands may have reminded them of their homeland (the Highlands and Northern Scotland) while English and Welsh made up the rest. The Irish immigrants, who were frequently confused with the British, arrived as merchants, tradesmen and sailors, settling along with the British in the main trading cities and ports.
An important contingent of British (principally Welsh) immigrants arrived between 1914 and 1950, settling in the present-day region of Magallanes. British families were established in other areas of the country, such as Santiago, Coquimbo, the Araucanía, and Chiloé.
The cultural legacy of the British in Chile is notable and has spread beyond the British Chilean community into society at large. Customs taken from the British include afternoon tea (called onces by Chileans), football, rugby union and horse racing. Another legacy is the widespread use of British personal names by Chileans.
Chile has the largest population of descendants of British settlers in Latin America. Over 700,000 Chileans may have British (English, Scottish and Welsh) origin, amounting to 4.5% of Chile's population.
South Africa
The British arrived in the area which would become the modern-day South Africa during the early 18th century, yet substantial settlement only started end of the 18th century, in the Cape of Good Hope; the British first explored the area for conquests for or related to the Slave Trade. In the late 19th century, the discovery of gold and diamonds further encouraged colonisation of South Africa by the British, and the population of the British-South Africans rose substantially, although there was fierce rivalry between the British and Afrikaners (descendants of Dutch colonists) in the period known as the Boer Wars. When apartheid first started most British-South Africans were mostly keen on keeping and even strengthening its ties with the United Kingdom. The latest census in South Africa showed that there are almost 2 million British-South Africans; they make up about 40% of the total White South African demographic, and the greatest white British ancestry populations in South Africa are in the KwaZulu-Natal province and in the cities of Cape Town, Durban and Port Elizabeth.
Ireland
Plantations of Ireland introduced large numbers of people from Great Britain to Ireland throughout the Middle Ages and early modern period. The resulting Protestant Ascendancy, the aristocratic class of the Lordship of Ireland, broadly identified themselves as Anglo-Irish. In the sixteenth and seventeenth centuries, Protestant British settlers subjugated Catholic, Gaelic inhabitants in the north of Ireland during the Plantation of Ulster and the Williamite War in Ireland; it was "an explicit attempt to control Ireland strategically by introducing ethnic and religious elements loyal to the British interest in Ireland".
The Ulster Scots people are an ethnic group of British origin in Ireland, broadly descended from Lowland Scots who settled in large numbers in the Province of Ulster during the planned process of colonisations of Ireland which took place in the reign of James VI of Scotland and I of England. Together with English and Welsh settlers, these Scots introduced Protestantism (particularly the Presbyterianism of the Church of Scotland) and the Ulster Scots and English languages to, mainly, northeastern Ireland. With the partition of Ireland and independence for what is now the Republic of Ireland some of these people found themselves no longer living within the United Kingdom.
Northern Ireland itself was, for many years, the site of a violent and bitter ethno-sectarian conflict—The Troubles—between those claiming to represent Irish nationalism, who are predominantly Roman Catholic, and those claiming to represent British unionism, who are predominantly Protestant. Unionists want Northern Ireland to remain part of the United Kingdom, while nationalists desire a united Ireland.
Since the signing of the Good Friday Agreement in 1998, most of the paramilitary groups involved in the Troubles have ceased their armed campaigns, and constitutionally, the people of Northern Ireland have been recognised as "all persons born in Northern Ireland and having, at the time of their birth, at least one parent who is a British citizen, an Irish citizen or is otherwise entitled to reside in Northern Ireland without any restriction on their period of residence". The Good Friday Agreement guarantees the "recognition of the birthright of all the people of Northern Ireland to identify themselves and be accepted as Irish or British, or both, as they may so choose".
Culture
Result from the expansion of the British Empire, British cultural influence can be observed in the language and culture of a geographically wide assortment of countries such as Canada, Australia, New Zealand, South Africa, India, Pakistan, the United States, and the British overseas territories. These states are sometimes collectively known as the Anglosphere. As well as the British influence on its empire, the empire also influenced British culture, particularly British cuisine. Innovations and movements within the wider-culture of Europe have also changed the United Kingdom; Humanism, Protestantism, and representative democracy have developed from broader Western culture.
As a result of the history of the formation of the United Kingdom, the cultures of England, Scotland, Wales, and Northern Ireland are diverse and have varying degrees of overlap and distinctiveness.
Cuisine
Historically, British cuisine has meant "unfussy dishes made with quality local ingredients, matched with simple sauces to accentuate flavour, rather than disguise it". It has been "vilified as unimaginative and heavy", and traditionally been limited in its international recognition to the full breakfast and the Christmas dinner. This is despite British cuisine having absorbed the culinary influences of those who have settled in Britain, resulting in hybrid dishes such as the British Asian Chicken tikka masala, hailed by some as "Britain's true national dish".
Celtic agriculture and animal breeding produced a wide variety of foodstuffs for Celts and Britons. The Anglo-Saxons developed meat and savoury herb stewing techniques before the practice became common in Europe. The Norman conquest of England introduced exotic spices into Britain in the Middle Ages. The British Empire facilitated a knowledge of India's food tradition of "strong, penetrating spices and herbs". Food rationing policies, imposed by the British government during wartime periods of the 20th century, are said to have been the stimulus for British cuisine's poor international reputation.
British dishes include fish and chips, the Sunday roast, and bangers and mash. British cuisine has several national and regional varieties, including English, Scottish and Welsh cuisine, each of which has developed its own regional or local dishes, many of which are geographically indicated foods such as Cheddar cheese, Cheshire cheese, the Yorkshire pudding, Arbroath Smokie, Cornish pasty and Welsh cakes.
The British are the second largest per capita tea consumers in the world, consuming an average of per person each year. British tea culture dates back to the 19th century, when India was part of the British Empire and British interests controlled tea production in the subcontinent.
Languages
There is no single British language, though English is by far the main language spoken by British citizens, being spoken monolingually by more than 70% of the UK population. English is therefore the de facto official language of the United Kingdom. However, under the European Charter for Regional or Minority Languages, the Welsh, Scottish Gaelic, Cornish, Irish Gaelic, Ulster Scots, Manx, Scots and Lowland Scots languages are officially recognised as Regional or Minority languages by the UK Government. Insular varieties of Norman are recognised languages of the Bailiwicks of Jersey and Guernsey, although they are dying. Standard French is an official language of both bailiwicks. As indigenous languages which continue to be spoken as a first language by native inhabitants, Welsh and Scottish Gaelic have a different legal status from other minority languages. In some parts of the UK, some of these languages are commonly spoken as a first language; in wider areas, their use in a bilingual context is sometimes supported or promoted by central or local government policy. For naturalisation purposes, a competence standard of English, Scottish Gaelic or Welsh is required to pass the life in the United Kingdom test. However, English is used routinely, and although considered culturally important, Scottish Gaelic and Welsh are much less used.
Throughout the United Kingdom there are distinctive spoken expressions and regional accents of English, which are seen to be symptomatic of a locality's culture and identity. An awareness and knowledge of accents in the United Kingdom can "place, within a few miles, the locality in which a man or woman has grown up".
Literature
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
Famous authors include some of the world's most studied and praised writers. William Shakespeare and Christopher Marlowe defined England's Elizabethan period. The British Romantic movement was one of the strongest and most recognisable in Europe. The poets William Blake, Wordsworth and Coleridge were amongst the pioneers of Romanticism in literature. Other Romantic writers that followed these figure further enhanced the profile of Romanticism in Europe, such as John Keats, Percy Bysshe Shelley and Lord Byron. Later periods like the Victorian Era saw a further flourishing of British writing, including Charles Dickens and William Thackeray.
Women's literature in Britain has had a long and often troubled history, with many female writers producing work under a pen name, such as George Eliot. Other great female novelists that have contributed to world literature are Frances Burney, Frances Hodgson Burnett, Virginia Woolf, Jane Austen and the Brontë sisters, Emily, Charlotte and Anne.
Non-fiction has also played an important role in the history of British letters, with the first dictionary of the English language being produced and compiled by Samuel Johnson, a graduate of Oxford University and a London resident.
Media and music
Although cinema, theatre, dance and live music are popular, the favourite pastime of the British is watching television. Public broadcast television in the United Kingdom began in 1936, with the launch of the BBC Television Service (now BBC One). In the United Kingdom and the Crown dependencies, one must have a television licence to legally receive any broadcast television service, from any source. This includes the commercial channels, cable and satellite transmissions, and the Internet. Revenue generated from the television licence is used to provide radio, television and Internet content for the British Broadcasting Corporation, and Welsh language television programmes for S4C. The BBC, the common abbreviation of the British Broadcasting Corporation, is the world's largest broadcaster. Unlike other broadcasters in the UK, it is a public service based, quasi-autonomous, statutory corporation run by the BBC Trust. Free-to-air terrestrial television channels available on a national basis are BBC One, BBC Two, ITV, Channel 4 (S4C in Wales), and Five.
100 Greatest British Television Programmes was a list compiled by the British Film Institute in 2000, chosen by a poll of industry professionals, to determine what were the greatest British television programmes of any genre ever to have been screened. Topping the list was Fawlty Towers, a British sitcom set in a fictional Torquay hotel starring John Cleese.
"British musical tradition is essentially vocal", dominated by the music of England and Germanic culture, most greatly influenced by hymns and Anglican church music. However, the specific, traditional music of Wales and music of Scotland is distinct, and of the Celtic musical tradition. In the United Kingdom, more people attend live music performances than football matches. British rock was born in the mid-20th century out of the influence of rock and roll and rhythm and blues from the United States. Major early exports were The Beatles, The Rolling Stones, The Who and The Kinks. Together with other bands from the United Kingdom, these constituted the British Invasion, a popularisation of British pop and rock music in the United States. Into the 1970s heavy metal, new wave, and 2 tone. Britpop is a subgenre of alternative rock that emerged from the British independent music scene of the early 1990s and was characterised by bands reviving British guitar pop music of the 1960s and 1970s. Leading exponents of Britpop were Blur, Oasis and Pulp. Also popularised in the United Kingdom during the 1990s were several domestically produced varieties of electronic dance music; acid house, UK hard house, jungle, UK garage which in turn have influenced grime and British hip hop in the 2000s. The BRIT Awards are the British Phonographic Industry's annual awards for both international and British popular music.
Religion
Historically, Christianity has been the most influential and important religion in Britain, and it remains the declared faith of the majority of the British people. The influence of Christianity on British culture has been "widespread, extending beyond the spheres of prayer and worship. Churches and cathedrals make a significant contribution to the architectural landscape of the nation's cities and towns" whilst "many schools and hospitals were founded by men and women who were strongly influenced by Christian motives". Throughout the United Kingdom, Easter and Christmas, the "two most important events in the Christian calendar", are recognised as public holidays.
Christianity remains the major religion of the population of the United Kingdom in the 21st century, followed by Islam, Hinduism, Sikhism and then Judaism in terms of numbers of adherents. The 2007 Tearfund Survey revealed 53% identified themselves as Christian, which was similar to the 2004 British Social Attitudes Survey, and to the United Kingdom Census 2001 in which 71.6% said that Christianity was their religion, However, the Tearfund Survey showed only one in ten Britons attend church weekly. Secularism was advanced in Britain during the Age of Enlightenment, and modern British organisations such as the British Humanist Association and the National Secular Society offer the opportunity for their members to "debate and explore the moral and philosophical issues in a non-religious setting".
The Treaty of Union that led to the formation of the Kingdom of Great Britain ensured that there would be a Protestant succession as well as a link between church and state that still remains. The Church of England (Anglican) is legally recognised as the established church, and so retains representation in the Parliament of the United Kingdom through the Lords Spiritual, whilst the British monarch is a member of the church as well as its Supreme Governor. The Church of England also retains the right to draft legislative measures (related to religious administration) through the General Synod that can then be passed into law by Parliament. The Roman Catholic Church in England and Wales is the second largest Christian church with around five million members, mainly in England. There are also growing Orthodox, Evangelical and Pentecostal churches, with Pentecostal churches in England now third after the Church of England and the Roman Catholic Church in terms of church attendance. Other large Christian groups include Methodists and Baptists.
The Presbyterian Church of Scotland (known informally as The Kirk), is recognised as the national church of Scotland and not subject to state control. The British monarch is an ordinary member and is required to swear an oath to "defend the security" of the church upon his or her accession. The Roman Catholic Church in Scotland is Scotland's second largest Christian church, with followers representing a sixth of the population of Scotland. The Scottish Episcopal Church, which is part of the Anglican Communion, dates from the final establishment of Presbyterianism in Scotland in 1690, when it split from the Church of Scotland over matters of theology and ritual. Further splits in the Church of Scotland, especially in the 19th century, led to the creation of other Presbyterian churches in Scotland, including the Free Church of Scotland. In the 1920s, the Church in Wales became independent from the Church of England and became 'disestablished' but remains in the Anglican Communion. Methodism and other Protestant churches have had a major presence in Wales. The main religious groups in Northern Ireland are organised on an all-Ireland basis. Though collectively Protestants constitute the overall majority, the Roman Catholic Church of Ireland is the largest single church. The Presbyterian Church in Ireland, closely linked to the Church of Scotland in terms of theology and history, is the second largest church followed by the Church of Ireland (Anglican) which was disestablished in the 19th century.
Sport
Sport is an important element of British culture, and is one of the most popular leisure activities of Britons. Within the United Kingdom, nearly half of all adults partake in one or more sporting activity each week. Some of the major sports in the United Kingdom "were invented by the British", including football, rugby union, rugby league and cricket, and "exported various other games" including tennis, badminton, boxing, golf, snooker and squash.
In most sports, separate organisations, teams and clubs represent the individual countries of the United Kingdom at international level, though in some sports, like rugby union, an all-Ireland team represents both Northern Ireland and Ireland (Republic of), and the British and Irish Lions represent Ireland and Britain as a whole. The UK is represented by a single team at the Olympic Games and at the 2012 Summer Olympics, the Great Britain team won 65 medals: 29 gold (the most since the 1908 Summer Olympics), 17 silver and 19 bronze, ranking them 3rd. In total, sportsmen and women from the UK "hold over 50 world titles in a variety of sports, such as professional boxing, rowing, snooker, squash and motorcycle sports".
A 2006 poll found that association football was the most popular sport in the UK. In England 320 football clubs are affiliated to The Football Association (FA) and more than 42,000 clubs to regional or district associations. The FA, founded in 1863, and the Football League, founded in 1888, were both the first of their kind in the world. In Scotland there are 78 full and associate clubs and nearly 6,000 registered clubs under the jurisdiction of the Scottish Football Association. Two Welsh clubs play in England's Football League and others at non-league level, whilst the Welsh Football League contains 20 semi-professional clubs. In Northern Ireland, 12 semi-professional clubs play in the IFA Premiership, the second oldest league in the world.
Recreational fishing, particularly angling, is one of the most popular participation activities in the United Kingdom, with an estimated 3–4 million anglers in the country. The most widely practised form of angling in England and Wales is for coarse fish while in Scotland angling is usually for salmon and trout.
Visual art and architecture
For centuries, artists and architects in Britain were overwhelmingly influenced by Western art history. Amongst the first visual artists credited for developing a distinctly British aesthetic and artistic style is William Hogarth. The experience of military, political and economic power from the rise of the British Empire, led to a very specific drive in artistic technique, taste and sensibility in the United Kingdom. Britons used their art "to illustrate their knowledge and command of the natural world", whilst the permanent settlers in British North America, Australasia, and South Africa "embarked upon a search for distinctive artistic expression appropriate to their sense of national identity". The empire has been "at the centre, rather than in the margins, of the history of British art", and imperial British visual arts have been fundamental to the construction, celebration and expression of Britishness.
British attitudes to modern art were "polarised" at the end of the 19th century. Modernist movements were both cherished and vilified by artists and critics; Impressionism was initially regarded by "many conservative critics" as a "subversive foreign influence", but became "fully assimilated" into British art during the early-20th century. Representational art was described by Herbert Read during the interwar period as "necessarily... revolutionary", and was studied and produced to such an extent that by the 1950s, Classicism was effectively void in British visual art. Post-modern, contemporary British art, particularly that of the Young British Artists, has been pre-occupied with postcolonialism, and "characterised by a fundamental concern with material culture ... perceived as a post-imperial cultural anxiety".
Architecture of the United Kingdom is diverse; most influential developments have usually taken place in England, but Ireland, Scotland, and Wales have at various times played leading roles in architectural history. Although there are prehistoric and classical structures in the British Isles, British architecture effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities. Secular medieval architecture throughout Britain has left a legacy of large stone castles, with the "finest examples" being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitiated the development of new artistic styles for domestic architecture: Tudor style, English Baroque, The Queen Anne Style and Palladian. Georgian and Neoclassical architecture advanced after the Scottish Enlightenment. Outside the United Kingdom, the influence of British architecture is particularly strong in South India, the result of British rule in India in the 19th century. The Indian cities of Bangalore, Chennai, and Mumbai each have courts, hotels and train stations designed in British architectural styles of Gothic Revivalism and neoclassicism.
Political culture
British political culture is tied closely with its institutions and civics, and a "subtle fusion of new and old values". The principle of constitutional monarchy, with its notions of stable parliamentary government and political liberalism, "have come to dominate British culture". These views have been reinforced by Sir Bernard Crick who said:
British political institutions include the Westminster system, the Commonwealth of Nations and Privy Council of the United Kingdom. Although the Privy Council is primarily a British institution, officials from other Commonwealth realms are also appointed to the body. The most notable continuing instance is the Prime Minister of New Zealand, its senior politicians, Chief Justice and Court of Appeal judges are conventionally made Privy Counsellors, as the prime ministers and chief justices of Canada and Australia used to be. Prime Ministers of Commonwealth countries which retain the British monarch as their sovereign continue to be sworn as Privy Counsellors.
Universal suffrage for all males over 21 was granted in 1918 and for adult women in 1928 after the Suffragette movement. Politics in the United Kingdom is multi-party, with three dominant political parties: the Conservative Party, the Labour Party and the Scottish National Party. The social structure of Britain, specifically social class, has "long been pre-eminent among the factors used to explain party allegiance", and still persists as "the dominant basis" of party political allegiance for Britons. The Conservative Party is descended from the historic Tory Party (founded in England in 1678), and is a centre-right conservative political party, which traditionally draws support from the middle classes. The Labour Party (founded by Scotsman Keir Hardie) grew out of the trade union movement and socialist political parties of the 19th century, and continues to describe itself as a "democratic socialist party". Labour states that it stands for the representation of the low-paid working class, who have traditionally been its members and voters. The Scottish National Party is the third largest political party in the UK in terms of both party membership and representation in parliament, having won 56 out of 59 Scottish seats at the 2015 General Election. The Liberal Democrats are a liberal political party, and fourth largest in England in terms of membership and MPs elected. It is descended from the Liberal Party, a major ruling party of 19th-century UK through to the First World War, when it was supplanted by the Labour Party. The Liberal Democrats have historically drawn support from wide and "differing social backgrounds". There are over 300 other, smaller political parties in the United Kingdom registered to the Electoral Commission.
Classification
According to the British Social Attitudes Survey, there are broadly two interpretations of British identity, with ethnic and civic dimensions:
Of the two perspectives of British identity, the civic definition has become "the dominant idea ... by far", and in this capacity, Britishness is sometimes considered an institutional or overarching state identity. This has been used to explain why first-, second- and third-generation immigrants are more likely to describe themselves as British, rather than English, because it is an "institutional, inclusive" identity, that can be acquired through naturalisation and British nationality law; the vast majority of people in the United Kingdom who are from an ethnic minority feel British.
However, this attitude is more common in England than in Scotland or Wales; "white English people perceived themselves as English first and as British second, and most people from ethnic minority backgrounds perceived themselves as British, but none identified as English, a label they associated exclusively with white people". Contrawise, in Scotland and Wales, White British and ethnic minority people both identified more strongly with Scotland and Wales than with Britain.
Studies and surveys have "reported that the majority of the Scots and Welsh see themselves as both Scottish/Welsh and British though with some differences in emphasis". The Commission for Racial Equality found that with respect to notions of nationality in Britain, "the most basic, objective and uncontroversial conception of the British people is one that includes the English, the Scots and the Welsh". However, "English participants tended to think of themselves as indistinguishably English or British, while both Scottish and Welsh participants identified themselves much more readily as Scottish or Welsh than as British".
Some persons opted "to combine both identities" as "they felt Scottish or Welsh, but held a British passport and were therefore British", whereas others saw themselves as exclusively Scottish or exclusively Welsh and "felt quite divorced from the British, whom they saw as the English". Commentators have described this latter phenomenon as "nationalism", a rejection of British identity because some Scots and Welsh interpret it as "cultural imperialism imposed" upon the United Kingdom by "English ruling elites", or else a response to a historical misappropriation of equating the word "English" with "British", which has "brought about a desire among Scots, Welsh and Irish to learn more about their heritage and distinguish themselves from the broader British identity".
See also
Anti-British sentiment
Lists of British people
100 Greatest Britons
References
Citations
Sources
Further reading
External links
British society
Ethnic groups in the United Kingdom | true | [
"Gallus (the cockerel) was a constellation introduced in 1612 (or 1613) by Petrus Plancius.\n\nIt was in the northern part of what is now Puppis. It was not adopted in the atlases of Johannes Hevelius, John Flamsteed and Johann Bode and fell into disuse.\n\nSee also\nObsolete constellations\nDutch celestial cartography in the Age of Discovery\nConstellations created and listed by Dutch celestial cartographers\n\nExternal links\n http://www.ianridpath.com/startales/gallus.htm\n\nFormer constellations\nConstellations listed by Petrus Plancius\nDutch celestial cartography in the Age of Discovery\nAstronomy in the Dutch Republic\n1610s in the Dutch Republic",
"Port Discovery, Washington is the historical name of what is now called Discovery Bay, a bay in the U.S. state of Washington on the south side of the Strait of Juan de Fuca, on Washington's Olympic Peninsula. It was also called Port Discovery Bay for some time, a name that can be found on maps from the 1940s and earlier. Port Discovery is also the name of a historically significant community that was located on the bay for roughly a hundred years; it disappeared in the late 20th century, with the collapse of the local timber industry.\n\nThe bay\nThe bay was first visited by Europeans in 1790, during the expedition of Manuel Quimper in the Princesa Real, with Juan Carrasco as pilot. They gave it the name Puerto de Quadra, after Juan Francisco de la Bodega y Quadra, their commander at San Blas. In 1791 Francisco de Eliza used Port Discovery as his base of operations for further explorations.\n\nThe name Port Discovery was given by George Vancouver in his 1792 visit to the Strait of Juan de Fuca, and honors his ship the Discovery. Vancouver's landing place was apparently at what was later called Carr Point (also Contractors Point).\n\nPort Discovery was a regular port of call for ships traversing the Pacific until the mid 20th century, and in particular for many U.S. ships involved in World War II, such as , , and . The wreck of War Hawk, a clipper ship which burned and sank in 1883, is a popular dive site in the bay, near Mill Point.\n\nThe community\nIn the 19th century, Port Discovery became an important coastal community, centered on a large sawmill that was established in 1858. The settlement called Port Discovery was located at what now is called Mill Point, on the west shore of the bay, to the east of U.S. Highway 101 at what is now Broders Road. This spot is several miles north of the current settlements at the foot of Discovery Bay.\n\nThe town at Mill Point dwindled after the closing of the sawmill, and vanished after the later collapse of the local timber industry. Only a couple of houses and an old pier remain at the site, which is private property.\n\nUntil around 2008, the prominent remains of another famous sawmill were visible farther down the shore from Mill Point, near what was Maynard, Washington, at the foot of the bay. The romantic, derelict building was adjacent to Highway 101, and was thus seen by every passing motorist; it was one of the most-photographed sites in the area for decades. Many such photos are mislabeled as the Port Discovery mill, although the Maynard mill was built later. By 2010, the building's vestiges were removed, in efforts to restore Discovery Bay salmon and shellfish habitat.\n\nReferences \n\nBays of Washington (state)\nBays of Jefferson County, Washington\nHistory of Washington (state)"
]
|
[
"British people",
"Union and the development of Britishness",
"Who became united?",
"the Kingdoms of England and Scotland",
"What led to their union?",
"drawing increasingly together\" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603.",
"Are there any other interesting aspects about this article?",
"the Age of Discovery gave new-found imperial power and wealth to the English and Welsh",
"What was the Age of Discovery?",
"English maritime explorations"
]
| C_a479cbb94c45445996c5347a9527d23e_0 | Was the Age of Discovery a positive thing? | 5 | Was the Age of Discovery a positive thing? | British people | Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures--the Bill of Rights 1689 and Claim of Right Act 1689 respectively--which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations. While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet--the colony of New Caledonia--on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost. The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme. CANNOTANSWER | "catastrophic failure" | The British people or Britons, also known colloquially as Brits, are the citizens of the United Kingdom of Great Britain and Northern Ireland, the British Overseas Territories, and the Crown dependencies. British nationality law governs modern British citizenship and nationality, which can be acquired, for instance, by descent from British nationals. When used in a historical context, "British" or "Britons" can refer to the Ancient Britons, the indigenous inhabitants of Great Britain and Brittany, whose surviving members are the modern Welsh people, Cornish people, and Bretons. It also refers to citizens of the former British Empire, who settled in the country prior to 1973, and hold neither UK citizenship nor nationality.
Though early assertions of being British date from the Late Middle Ages, the Union of the Crowns in 1603 and the creation of the Kingdom of Great Britain in 1707 triggered a sense of British national identity. The notion of Britishness and a shared British identity was forged during the 18th century and early 19th century when Britain engaged in several global conflicts with France, and developed further during the Victorian era. The complex history of the formation of the United Kingdom created a "particular sense of nationhood and belonging" in Great Britain and Ireland; Britishness became "superimposed on much older identities", of English, Scots, Welsh, and Irish cultures, whose distinctiveness still resists notions of a homogenised British identity. Because of longstanding ethno-sectarian divisions, British identity in Northern Ireland is controversial, but it is held with strong conviction by Unionists.
Modern Britons are descended mainly from the varied ethnic groups that settled in Great Britain in and before the 11th century: Prehistoric, Brittonic, Roman, Anglo-Saxon, Norse, and Normans. The progressive political unification of the British Isles facilitated migration, cultural and linguistic exchange, and intermarriage between the peoples of England, Scotland and Wales during the late Middle Ages, early modern period and beyond. Since 1922 and earlier, there has been immigration to the United Kingdom by people from what is now the Republic of Ireland, the Commonwealth, mainland Europe and elsewhere; they and their descendants are mostly British citizens, with some assuming a British, dual or hyphenated identity. This includes the groups Black British and Asian British people, which together constitute around 10% of the British population.
The British are a diverse, multinational, multicultural and multilingual society, with "strong regional accents, expressions and identities". The social structure of the United Kingdom has changed radically since the 19th century, with a decline in religious observance, enlargement of the middle class, and increased ethnic diversity, particularly since the 1950s, when citizens of the British Empire were encouraged to immigrate to Britain to work as part of the recovery from World War II. The population of the UK stands at around 66 million, with a British diaspora of around 140 million concentrated in the United States, Australia, Canada, and New Zealand, with smaller concentrations in the Republic of Ireland, Chile, South Africa, and parts of the Caribbean.
History of the term
The earliest known reference to the inhabitants of Great Britain may have come from 4th century BC records of the voyage of Pytheas, a Greek geographer who made a voyage of exploration around the British Isles. Although none of his own writings remain, writers during the time of the Roman Empire made much reference to them. Pytheas called the islands collectively (hai Brettaniai), which has been translated as the Brittanic Isles, and the peoples of what are today England, Wales, Scotland and the Isle of Man of Prettanike were called the (Prettanoi), Priteni, Pritani or Pretani.
The group included Ireland, which was referred to as Ierne (Insula sacra "sacred island" as the Greeks interpreted it) "inhabited by the different race of Hiberni" (gens hibernorum), and Britain as insula Albionum, "island of the Albions". The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.
Greek and Roman writers, in the 1st century BC and the 1st century AD, name the inhabitants of Great Britain and Ireland as the Priteni, the origin of the Latin word Britanni. It has been suggested that this name derives from a Gaulish description translated as "people of the forms", referring to the custom of tattooing or painting their bodies with blue woad made from Isatis tinctoria. Parthenius, a 1st-century Ancient Greek grammarian, and the Etymologicum Genuinum, a 9th-century lexical encyclopaedia, mention a mythical character Bretannus (the Latinised form of the , Brettanós) as the father of Celtine, mother of Celtus, the eponymous ancestor of the Celts.
By 50 BC Greek geographers were using equivalents of Prettanikē as a collective name for the British Isles. However, with the Roman conquest of Britain the Latin term Britannia was used for the island of Great Britain, and later Roman-occupied Britain south of Caledonia (modern day Scotland north of the rivers Forth & Clyde), although the people of Caledonia and the north were also the self same Britons during the Roman period, the Gaels arriving four centuries later. Following the end of Roman rule in Britain, the island of Great Britain was left open to invasion by pagan, seafaring warriors such as Germanic-speaking Anglo-Saxons and Jutes from Continental Europe, who gained control in areas around the south east, and to Middle Irish-speaking people migrating from what is today Northern Ireland to the north of Great Britain (modern Scotland), founding Gaelic kingdoms such as Dál Riata and Alba, which would eventually subsume the native Brittonic and Pictish kingdoms and become Scotland.
In this sub-Roman Britain, as Anglo-Saxon culture spread across southern and eastern Britain and Gaelic through much of the north, the demonym "Briton" became restricted to the Brittonic-speaking inhabitants of what would later be called Wales, Cornwall, North West England (Cumbria), and a southern part of Scotland(Strathclyde). In addition the term was also applied to Brittany in what is today France and Britonia in north west Spain, both regions having been colonised by Britons in the 5th century fleeing the Anglo-Saxon invasions. However, the term Britannia persisted as the Latin name for the island. The Historia Brittonum claimed legendary origins as a prestigious genealogy for Brittonic kings, followed by the Historia Regum Britanniae which popularised this pseudo-history to support the claims of the Kings of England.
During the Middle Ages, and particularly in the Tudor period, the term "British" was used to refer to the Welsh people and Cornish people. At that time, it was "the long held belief that these were the remaining descendants of the Britons and that they spoke 'the British tongue. This notion was supported by texts such as the Historia Regum Britanniae, a pseudohistorical account of ancient British history, written in the mid-12th century by Geoffrey of Monmouth. The Historia Regum Britanniae chronicled the lives of legendary kings of the Britons in a narrative spanning 2000 years, beginning with the Trojans founding the ancient British nation and continuing until the Anglo-Saxon settlement of Britain in the 7th century forced the Britons to the west, i.e. Wales and Cornwall, and north, i.e. Cumbria, Strathclyde and northern Scotland. This legendary Celtic history of Great Britain is known as the Matter of Britain. The Matter of Britain, a national myth, was retold or reinterpreted in works by Gerald of Wales, a Cambro-Norman chronicler who in the 12th and 13th centuries used the term British to refer to the people later known as the Welsh.
History
Ancestral roots
The indigenous people of the British Isles have a combination of Celtic, Anglo-Saxon, Norse and Norman ancestry.
Between the 8th and 11th centuries, "three major cultural divisions" had emerged in Great Britain: the English, the Scots and the Welsh, the earlier Brittonic Celtic polities in what are today England and Scotland having finally been absorbed into Anglo-Saxon England and Gaelic Scotland by the early 11th century. The English had been unified under a single nation state in 937 by King Athelstan of Wessex after the Battle of Brunanburh. Before then, the English (known then in Old English as the Anglecynn) were under the governance of independent Anglo-Saxon petty kingdoms which gradually coalesced into a Heptarchy of seven powerful states, the most powerful of which were Mercia and Wessex. Scottish historian and archaeologist Neil Oliver said that the Battle of Brunanburh would "define the shape of Britain into the modern era", it was a "showdown for two very different ethnic identities – a Norse Celtic alliance versus Anglo Saxon. It aimed to settle once and for all whether Britain would be controlled by a single imperial power or remain several separate independent kingdoms, a split in perceptions which is still very much with us today". However, historian Simon Schama suggested that it was Edward I of England who was solely "responsible for provoking the peoples of Britain into an awareness of their nationhood" in the 13th century. Schama hypothesised that Scottish national identity, "a complex amalgam" of Gaelic, Brittonic, Pictish, Norsemen and Anglo-Norman origins, was not finally forged until the Wars of Scottish Independence against the Kingdom of England in the late 13th and early 14th centuries.
Though Wales was conquered by England, and its legal system replaced by that of the Kingdom of England under the Laws in Wales Acts 1535–1542, the Welsh endured as a nation distinct from the English, and to some degree the Cornish people, although conquered into England by the 11th century, also retained a distinct Brittonic identity and language. Later, with both an English Reformation and a Scottish Reformation, Edward VI of England, under the counsel of Edward Seymour, 1st Duke of Somerset, advocated a union with the Kingdom of Scotland, joining England, Wales, and Scotland in a united Protestant Great Britain. The Duke of Somerset supported the unification of the English, Welsh and Scots under the "indifferent old name of Britons" on the basis that their monarchies "both derived from a Pre-Roman British monarchy".
Following the death of Elizabeth I of England in 1603, the throne of England was inherited by James VI, King of Scots, so that the Kingdom of England and the Kingdom of Scotland were united in a personal union under James VI of Scotland and I of England, an event referred to as the Union of the Crowns. King James advocated full political union between England and Scotland, and on 20 October 1604 proclaimed his assumption of the style "King of Great Britain", though this title was rejected by both the Parliament of England and the Parliament of Scotland, and so had no basis in either English law or Scots law.
Union and the development of Britishness
Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures—the Bill of Rights 1689 and Claim of Right Act 1689 respectively—which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations.
While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet—the colony of New Caledonia—on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost.
The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme.
Union of Scotland and England
Despite opposition from within both Scotland and England, a Treaty of Union was agreed in 1706 and was then ratified by the parliaments of both countries with the passing of the Acts of Union 1707. With effect from 1 May 1707, this created a new sovereign state called the "Kingdom of Great Britain". This kingdom "began as a hostile merger", but led to a "full partnership in the most powerful going concern in the world"; historian Simon Schama stated that "it was one of the most astonishing transformations in European history".
After 1707, a British national identity began to develop, though it was initially resisted, particularly by the English. The peoples of Great Britain had by the 1750s begun to assume a "layered identity": to think of themselves as simultaneously British and also Scottish, English, or Welsh.
The terms North Briton and South Briton were devised for the Scots and the English respectively, with the former gaining some preference in Scotland, particularly by the economists and philosophers of the Scottish Enlightenment. Indeed, it was the "Scots [who] played key roles in shaping the contours of British identity"; "their scepticism about the Union allowed the Scots the space and time in which
to dominate the construction of Britishness in its early crucial years", drawing upon the notion of a shared "spirit of liberty common to both Saxon and Celt ... against the usurpation of the Church of Rome". James Thomson was a poet and playwright born to a Church of Scotland minister in the Scottish Lowlands in 1700 who was interested in forging a common British culture and national identity in this way. In collaboration with Thomas Arne, they wrote Alfred, an opera about Alfred the Great's victory against the Vikings performed to Frederick, Prince of Wales in 1740 to commemorate the accession of George I and the birthday of Princess Augusta. "Rule, Britannia!" was the climactic piece of the opera and quickly became a "jingoistic" British patriotic song celebrating "Britain's supremacy offshore". An island country with a series of victories for the Royal Navy associated empire and naval warfare "inextricably with ideals of Britishness and Britain's place in the world".
Britannia, the new national personification of Great Britain, was established in the 1750s as a representation of "nation and empire rather than any single national hero". On Britannia and British identity, historian Peter Borsay wrote:
From the Union of 1707 through to the Battle of Waterloo in 1815, Great Britain was "involved in successive, very dangerous wars with Catholic France", but which "all brought enough military and naval victories ... to flatter British pride". As the Napoleonic Wars with the First French Empire advanced, "the English and Scottish learned to define themselves as similar primarily by virtue of not being French or Catholic". In combination with sea power and empire, the notion of Britishness became more "closely bound up with Protestantism", a cultural commonality through which the English, Scots and Welsh became "fused together, and remain[ed] so, despite their many cultural divergences".
The neo-classical monuments that proliferated at the end of the 18th century and the start of the 19th century, such as The Kymin at Monmouth, were attempts to meld the concepts of Britishness with the Greco-Roman empires of classical antiquity. The new and expanding British Empire provided "unprecedented opportunities for upward mobility and the accumulations of wealth", and so the "Scottish, Welsh and Irish populations were prepared to suppress nationalist issues on pragmatic grounds". The British Empire was "crucial to the idea of a British identity and to the self-image of Britishness". Indeed, the Scottish welcomed Britishness during the 19th century "for it offered a context within which they could hold on to their own identity whilst participating in, and benefiting from, the expansion of the [British] Empire". Similarly, the "new emphasis of Britishness was broadly welcomed by the Welsh who considered themselves to be the lineal descendants of the ancient Britons – a word that was still used to refer exclusively to the Welsh". For the English, however, by the Victorian era their enthusiastic adoption of Britishness had meant that, for them, Britishness "meant the same as 'Englishness'", so much so that "Englishness and Britishness" and "'England' and 'Britain' were used interchangeably in a variety of contexts". Britishness came to borrow heavily from English political history because England had "always been the dominant component of the British Isles in terms of size, population and power"; Magna Carta, common law and hostility to continental Europe were English factors that influenced British sensibilities.
Union with Ireland
The political union in 1800 of the predominantly Catholic Kingdom of Ireland with Great Britain, coupled with the outbreak of peace with France in the early 19th century, challenged the previous century's concept of militant Protestant Britishness. The new, expanded United Kingdom of Great Britain and Ireland meant that the state had to re-evaluate its position on the civil rights of Catholics, and extend its definition of Britishness to the Irish people. Like the terms that had been invented at the time of the Acts of Union 1707, "West Briton" was introduced for the Irish after 1800. In 1832 Daniel O'Connell, an Irish politician who campaigned for Catholic Emancipation, stated in Britain's House of Commons:
Ireland, from 1801 to 1923, was marked by a succession of economic and political mismanagement and neglect, which marginalised the Irish, and advanced Irish nationalism. In the forty years that followed the Union, successive British governments grappled with the problems of governing a country which had as Benjamin Disraeli, a staunch anti-Irish and anti-Catholic member of the Conservative party with a virulent racial and religious prejudice towards Ireland put it in 1844, "a starving population, an absentee aristocracy, and an alien Church, and in addition the weakest executive in the world". Although the vast majority of Unionists in Ireland proclaimed themselves "simultaneously Irish and British", even for them there was a strain upon the adoption of Britishness after the Great Famine.
War continued to be a unifying factor for the people of Great Britain: British jingoism re-emerged during the Boer Wars in southern Africa. The experience of military, political and economic power from the rise of the British Empire led to a very specific drive in artistic technique, taste and sensibility for Britishness. In 1887, Frederic Harrison wrote:
The Catholic Relief Act 1829 reflected a "marked change in attitudes" in Great Britain towards Catholics and Catholicism. A "significant" example of this was the collaboration between Augustus Welby Pugin, an "ardent Roman Catholic" and son of a Frenchman, and Sir Charles Barry, "a confirmed Protestant", in redesigning the Palace of Westminster—"the building that most enshrines ... Britain's national and imperial pre-tensions". Protestantism gave way to imperialism as the leading element of British national identity during the Victorian and Edwardian eras, and as such, a series of royal, imperial and national celebrations were introduced to the British people to assert imperial British culture and give themselves a sense of uniqueness, superiority and national consciousness. Empire Day and jubilees of Queen Victoria were introduced to the British middle class, but quickly "merged into a national 'tradition'".
Modern period
The First World War "reinforced the sense of Britishness" and patriotism in the early 20th century. Through war service (including conscription in Great Britain), "the English, Welsh, Scots and Irish fought as British". The aftermath of the war institutionalised British national commemoration through Remembrance Sunday and the Poppy Appeal. The Second World War had a similar unifying effect upon the British people, however, its outcome was to recondition Britishness on a basis of democratic values and its marked contrast to Europeanism. Notions that the British "constituted an Island race, and that it stood for democracy were reinforced during the war and they were circulated in the country through Winston Churchill's speeches, history books and newspapers".
At its international zenith, "Britishness joined peoples around the world in shared traditions and common loyalties that were strenuously maintained". But following the two world wars, the British Empire experienced rapid decolonisation. The secession of the Irish Free State from the United Kingdom meant that Britishness had lost "its Irish dimension" in 1922, and the shrinking empire supplanted by independence movements dwindled the appeal of British identity in the Commonwealth of Nations during the mid-20th century.
Since the British Nationality Act 1948 and the subsequent mass immigration to the United Kingdom from the Commonwealth and elsewhere in the world, "the expression and experience of cultural life in Britain has become fragmented and reshaped by the influences of gender, ethnicity, class and region". Furthermore, the United Kingdom's membership of the European Economic Community in 1973 eroded the concept of Britishness as distinct from continental Europe. As such, since the 1970s "there has been a sense of crisis about what it has meant to be British", exacerbated by growing demands for greater political autonomy for Northern Ireland, Scotland, and Wales.
The late 20th century saw major changes to the politics of the United Kingdom with the establishment of devolved national administrations for Northern Ireland, Scotland, and Wales following pre-legislative referendums. Calls for greater autonomy for the four countries of the United Kingdom had existed since their original union with each other, but gathered pace in the 1960s and 1970s. Devolution has led to "increasingly assertive Scottish, Welsh and Irish national identities", resulting in more diverse cultural expressions of Britishness, or else its outright rejection: Gwynfor Evans, a Welsh nationalist politician active in the late 20th century, rebuffed Britishness as "a political synonym for Englishness which extends English culture over the Scots, Welsh and the Irish".
In 2004 Sir Bernard Crick, political theorist and democratic socialist tasked with developing the life in the United Kingdom test said:
Gordon Brown initiated a debate on British identity in 2006. Brown's speech to the Fabian Society's Britishness Conference proposed that British values demand a new constitutional settlement and symbols to represent a modern patriotism, including a new youth community service scheme and a British Day to celebrate. One of the central issues identified at the Fabian Society conference was how the English identity fits within the framework of a devolved United Kingdom. An expression of Her Majesty's Government's initiative to promote Britishness was the inaugural Veterans' Day which was first held on 27 June 2006. As well as celebrating the achievements of armed forces veterans, Brown's speech at the first event for the celebration said:
In 2018, the Windrush scandal illustrated complex developments in British peoplehood, when it was revealed hundreds of Britons had been wrongfully deported. With roots in the break-up of the empire, and post-war rebuilding; the Windrush generation had arrived as CUKC citizens in the 1950s and 1960s. Born in former British colonies, they settled in the UK before 1973, and were granted “right of abode” by the Immigration Act 1971. Having faced removal, or been deported, many British people of African Caribbean heritage suffered with loss of home, livelihood, and health. As a result of the political scandal, many institutions and elected politicians publicly affirmed that these individuals, while not legally holding British citizenship or nationality, were, in fact, British people. These included British Prime Minister Theresa May, London Mayor Sadiq Khan, Her Majesty's CPS Inspectorate Wendy Williams and her House of Commons-ordered Windrush Lessons Learned Review, the Chartered Institute of Housing, Amnesty International, University of Oxford's social geographer Danny Dorling, and other public figures.
Geographic distribution
The earliest migrations of Britons date from the 5th and 6th centuries AD, when Brittonic Celts fleeing the Anglo-Saxon invasions migrated what is today northern France and north western Spain and forged the colonies of Brittany and Britonia. Brittany remained independent of France until the early 16th century and still retains a distinct Brittonic culture and language, whilst Britonia in modern Galicia was absorbed into Spanish states by the end of the 9th century AD.
Britons – people with British citizenship or of British descent – have a significant presence in a number of countries other than the United Kingdom, and in particular in those with historic connections to the British Empire. After the Age of Discovery, the British were one of the earliest and largest communities to emigrate out of Europe, and the British Empire's expansion during the first half of the 19th century triggered an "extraordinary dispersion of the British people", resulting in particular concentrations "in Australasia and North America".
The British Empire was "built on waves of migration overseas by British people", who left the United Kingdom and "reached across the globe and permanently affected population structures in three continents". As a result of the British colonisation of the Americas, what became the United States was "easily the greatest single destination of emigrant British", but in Australia the British experienced a birth rate higher than "anything seen before", resulting in the displacement of indigenous Australians.
In colonies such as Southern Rhodesia, British East Africa and Cape Colony, permanently resident British communities were established and whilst never more than a numerical minority, these Britons "exercised a dominant influence" upon the culture and politics of those lands. In Australia, Canada and New Zealand, "people of British origin came to constitute the majority of the population" contributing to these states becoming integral to the Anglosphere.
The United Kingdom Census 1861 estimated the size of the overseas British to be around 2.5 million, but concluded that most of these were "not conventional settlers" but rather "travellers, merchants, professionals, and military personnel". By 1890, there were over 1.5 million further UK-born people living in Australia, Canada, New Zealand and South Africa. A 2006 publication from the Institute for Public Policy Research estimated 5.6 million Britons lived outside of the United Kingdom.
Outside of the United Kingdom and its Overseas Territories, the largest proportions of people of self-identified ethnic British descent in the world are found in New Zealand (59%), Australia (46%) and Canada (31%), followed by a considerably smaller minority in the United States (10.7%) and parts of the Caribbean. Hong Kong has the highest proportion of British citizens outside of the United Kingdom and its Overseas Territories, with 47% of Hong Kong residents holding a British National (Overseas) citizenship or a British citizenship.
Australia
From the beginning of Australia's colonial period until after the Second World War, people from the United Kingdom made up a large majority of people coming to Australia, meaning that many people born in Australia can trace their origins to Britain. The colony of New South Wales, founded on 26 January 1788, was part of the eastern half of Australia claimed by the Kingdom of Great Britain in 1770, and initially settled by Britons through penal transportation. Together with another five largely self-governing Crown Colonies, the federation of Australia was achieved on 1 January 1901.
Its history of British dominance meant that Australia was "grounded in British culture and political traditions that had been transported to the Australian colonies in the nineteenth century and become part of colonial culture and politics". Australia maintains the Westminster system of Parliamentary Government and Elizabeth II as Queen of Australia. Until 1987, the national status of Australian citizens was formally described as "British Subject: Citizen of Australia". Britons continue to make up a substantial proportion of immigrants.
By 1947, Australia was fundamentally British in origin with 7,524,129 or 99.3% of the population declaring themselves as European. In the most recent 2016 census, a large proportion of Australians self-identified with British ancestral origins, including 36.1% or 7,852,224 as English and 9.3% (2,023,474) as Scottish alone. A substantial proportion —33.5%— chose to identify as ‘Australian’, the census Bureau has stated that most of these are of Anglo-Celtic colonial stock.
All 6 states of Australia retain the Union Jack in the canton of their respective flags.
British Overseas Territories
The approximately 250,000 people of the British Overseas Territories are British by citizenship, via origins or naturalisation. Along with aspects of common British identity, each of them has their own distinct identity shaped in the respective particular circumstances of political, economic, ethnic, social and cultural history. For instance, in the case of the Falkland Islanders, Lewis Clifton the Speaker of the Legislative Council of the Falkland Islands, explains:
In contrast, for the majority of the Gibraltarians, who live in Gibraltar, there is an "insistence on their Britishness" which "carries excessive loyalty" to Britain. The sovereignty of Gibraltar has been a point of contention in Spain–United Kingdom relations, but an overwhelming number of Gibraltarians embrace Britishness with strong conviction, in direct opposition to Spanish territorial claims.
Canada
Canada traces its statehood to the French, English, and Scottish expeditions of North America from the late-15th century. France ceded nearly all of New France in 1763 after the Seven Years' War, and so after the United States Declaration of Independence in 1776, Quebec and Nova Scotia formed "the nucleus of the colonies that constituted Britain's remaining stake on the North American continent". British North America attracted the United Empire Loyalists, Britons who migrated out of what they considered the "rebellious" United States, increasing the size of British communities in what was to become Canada.
In 1867 there was a union of three colonies with British North America which together formed the Canadian Confederation, a federal dominion. This began an accretion of additional provinces and territories and a process of increasing autonomy from the United Kingdom, highlighted by the Statute of Westminster 1931 and culminating in the Canada Act 1982, which severed the vestiges of legal dependence on the parliament of the United Kingdom. Nevertheless, it is recognised that there is a "continuing importance of Canada's long and close relationship with Britain"; large parts of Canada's modern population claim "British origins" and the cultural impact of the British upon Canada's institutions is profound.
It was not until 1977 that the phrase "A Canadian citizen is a British subject" ceased to be used in Canadian passports. The politics of Canada are strongly influenced by British political culture. Although significant modifications have been made, Canada is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as The Queen of Canada and Head of State. English is the most commonly spoken language used in Canada and it is an official language of Canada.
British iconography remains present in the design of many Canadian flags, with 10 out of 13 Canadian provincial and territorial flags adopting some form of British symbolism in their design. The Union Jack is also an official ceremonial flag in Canada known as the Royal Union Flag which is flown outside of federal buildings three days of the year.
New Zealand
A long-term result of James Cook's voyage of 1768–1771, a significant number of New Zealanders are of British descent, for whom a sense of Britishness has contributed to their identity. As late as the 1950s, it was common for British New Zealanders to refer to themselves as British, such as when Prime Minister Keith Holyoake described Sir Edmund Hillary's successful ascent of Mount Everest as putting "the British race and New Zealand on top of the world". New Zealand passports described nationals as "British Subject: Citizen of New Zealand" until 1974, when this was changed to "New Zealand citizen".
In an interview with the New Zealand Listener in 2006, Don Brash, the then Leader of the Opposition, said:
The politics of New Zealand are strongly influenced by British political culture. Although significant modifications have been made, New Zealand is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as the head of the monarchy of New Zealand. English is the dominant official language used in New Zealand.
Hong Kong
British nationality law as it pertains to Hong Kong has been unusual ever since Hong Kong became a British colony in 1842. From its beginning as a sparsely populated trading port to its modern role as a cosmopolitan international financial centre of over seven million people, the territory has attracted refugees, immigrants and expatriates alike searching for a new life.
Citizenship matters were complicated by the fact that British nationality law treated those born in Hong Kong as British subjects (although they did not enjoy full rights and citizenship), while the People's Republic of China (PRC) did not recognise Hong Kong Chinese as such. The main reason for this was that recognising these people as British was seen as a tacit acceptance of a series of historical treaties that the PRC labelled as "unequal", including the ones which ceded Hong Kong Island, the Kowloon Peninsula and the New Territories to Britain. The British government, however, recognising the unique political situation of Hong Kong, granted 3.4 million Hong Kongers a new type of nationality known as British National (Overseas), which is established in accordance with the Hong Kong Act 1985. Among those 3.4 million people, there are many British Nationals (Overseas) who are eligible for full British citizenship. Both British Nationals (Overseas) and British citizens are British nationals and Commonwealth citizens according to the British Nationality Law, which enables them to various rights in the United Kingdom and the European Union.
United States
An English presence in North America began with the Roanoke Colony and Colony of Virginia in the late-16th century, but the first successful English settlement was established in 1607, on the James River at Jamestown. By the 1610s an estimated 1,300 English people had travelled to North America, the "first of many millions from the British Isles". In 1620, the Pilgrims established the English imperial venture of Plymouth Colony, beginning "a remarkable acceleration of permanent emigration from England" with over 60% of trans-Atlantic English migrants settling in the New England Colonies. During the 17th century, an estimated 350,000 English and Welsh migrants arrived in North America, which in the century after the Acts of Union 1707 was surpassed in rate and number by Scottish and Irish migrants.
The British policy of salutary neglect for its North American colonies intended to minimise trade restrictions as a way of ensuring they stayed loyal to British interests. This permitted the development of the American Dream, a cultural spirit distinct from that of its European founders. The Thirteen Colonies of British America began an armed rebellion against British rule in 1775 when they rejected the right of the Parliament of Great Britain to govern them without representation; they proclaimed their independence in 1776, and constituted the first thirteen states of the United States of America, which became a sovereign state in 1781 with the ratification of the Articles of Confederation. The 1783 Treaty of Paris represented Great Britain's formal acknowledgement of the United States' sovereignty at the end of the American Revolutionary War.
Nevertheless, longstanding cultural and historical ties have, in more modern times, resulted in the Special Relationship, the historically close political, diplomatic, and military co-operation between the United Kingdom and United States. Linda Colley, a professor of history at Princeton University and specialist in Britishness, suggested that because of their colonial influence on the United States, the British find Americans a "mysterious and paradoxical people, physically distant but culturally close, engagingly similar yet irritatingly different".
For over two centuries (1789-1989) of early U.S. history, all Presidents with the exception of two (Van Buren and Kennedy) were descended from the varied colonial British stock, from the Pilgrims and Puritans to the Scotch-Irish and English who settled the Appalachia.
The largest concentrations of self-reported British ethnic ancestry in the United States were found to be in Utah (35%), Maine (30%), New Hampshire (25%) and Vermont (25%) at the 2015 American Community Survey. Overall, 10.7% of Americans reported their ethnic ancestry as some form of "British" in the 2013–17 ACS, behind German and African ancestries and on par with Mexican and Irish ancestries.
Chile
Approximately 4% of Chile's population is of British or Irish descent. Over 50,000 British immigrants settled in Chile from 1840 to 1914. A significant number of them settled in Magallanes Province, especially in the city of Punta Arenas when it flourished as a major global seaport for ships crossing between the Atlantic and Pacific Oceans through the Strait of Magellan. Around 32,000 English settled in Valparaíso, influencing the port city to the extent of making it virtually a British colony during the last decades of the 19th century and the beginning of the 20th century. However, the opening of the Panama Canal in 1914 and the outbreak of the First World War drove many of them away from the city or back to Europe.
In Valparaíso, they created their largest and most important colony, bringing with them neighbourhoods of British character, schools, social clubs, sports clubs, business organisations and periodicals. Even today their influence is apparent in specific areas, such as the banks and the navy, as well as in certain social activities, such as football, horse racing, and the custom of drinking tea.
During the movement for independence (1818), it was mainly the British who formed the Chilean Navy, under the command of Lord Cochrane.
British investment helped Chile become prosperous and British seamen helped the Chilean navy become a strong force in the South Pacific. Chile won two wars, the first against the Peru-Bolivian Confederation and the second, the War of the Pacific, in 1878–79, against an alliance between Peru and Bolivia. The liberal-socialist "Revolution of 1891" introduced political reforms modelled on British parliamentary practice and lawmaking.
British immigrants were also important in the northern zone of the country during the saltpetre boom, in the ports of Iquique and Pisagua. The "King of Saltpetre", John Thomas North, was the principal tycoon of nitrate mining. The British legacy is reflected in the streets of the historic district of the city of Iquique, with the foundation of various institutions, such as the Club Hípico (Racing Club). Nevertheless, the British active presence came to an end with the saltpetre crisis during the 1930s.
Some Scots settled in the country's more temperate regions, where the climate and the forested landscape with glaciers and islands may have reminded them of their homeland (the Highlands and Northern Scotland) while English and Welsh made up the rest. The Irish immigrants, who were frequently confused with the British, arrived as merchants, tradesmen and sailors, settling along with the British in the main trading cities and ports.
An important contingent of British (principally Welsh) immigrants arrived between 1914 and 1950, settling in the present-day region of Magallanes. British families were established in other areas of the country, such as Santiago, Coquimbo, the Araucanía, and Chiloé.
The cultural legacy of the British in Chile is notable and has spread beyond the British Chilean community into society at large. Customs taken from the British include afternoon tea (called onces by Chileans), football, rugby union and horse racing. Another legacy is the widespread use of British personal names by Chileans.
Chile has the largest population of descendants of British settlers in Latin America. Over 700,000 Chileans may have British (English, Scottish and Welsh) origin, amounting to 4.5% of Chile's population.
South Africa
The British arrived in the area which would become the modern-day South Africa during the early 18th century, yet substantial settlement only started end of the 18th century, in the Cape of Good Hope; the British first explored the area for conquests for or related to the Slave Trade. In the late 19th century, the discovery of gold and diamonds further encouraged colonisation of South Africa by the British, and the population of the British-South Africans rose substantially, although there was fierce rivalry between the British and Afrikaners (descendants of Dutch colonists) in the period known as the Boer Wars. When apartheid first started most British-South Africans were mostly keen on keeping and even strengthening its ties with the United Kingdom. The latest census in South Africa showed that there are almost 2 million British-South Africans; they make up about 40% of the total White South African demographic, and the greatest white British ancestry populations in South Africa are in the KwaZulu-Natal province and in the cities of Cape Town, Durban and Port Elizabeth.
Ireland
Plantations of Ireland introduced large numbers of people from Great Britain to Ireland throughout the Middle Ages and early modern period. The resulting Protestant Ascendancy, the aristocratic class of the Lordship of Ireland, broadly identified themselves as Anglo-Irish. In the sixteenth and seventeenth centuries, Protestant British settlers subjugated Catholic, Gaelic inhabitants in the north of Ireland during the Plantation of Ulster and the Williamite War in Ireland; it was "an explicit attempt to control Ireland strategically by introducing ethnic and religious elements loyal to the British interest in Ireland".
The Ulster Scots people are an ethnic group of British origin in Ireland, broadly descended from Lowland Scots who settled in large numbers in the Province of Ulster during the planned process of colonisations of Ireland which took place in the reign of James VI of Scotland and I of England. Together with English and Welsh settlers, these Scots introduced Protestantism (particularly the Presbyterianism of the Church of Scotland) and the Ulster Scots and English languages to, mainly, northeastern Ireland. With the partition of Ireland and independence for what is now the Republic of Ireland some of these people found themselves no longer living within the United Kingdom.
Northern Ireland itself was, for many years, the site of a violent and bitter ethno-sectarian conflict—The Troubles—between those claiming to represent Irish nationalism, who are predominantly Roman Catholic, and those claiming to represent British unionism, who are predominantly Protestant. Unionists want Northern Ireland to remain part of the United Kingdom, while nationalists desire a united Ireland.
Since the signing of the Good Friday Agreement in 1998, most of the paramilitary groups involved in the Troubles have ceased their armed campaigns, and constitutionally, the people of Northern Ireland have been recognised as "all persons born in Northern Ireland and having, at the time of their birth, at least one parent who is a British citizen, an Irish citizen or is otherwise entitled to reside in Northern Ireland without any restriction on their period of residence". The Good Friday Agreement guarantees the "recognition of the birthright of all the people of Northern Ireland to identify themselves and be accepted as Irish or British, or both, as they may so choose".
Culture
Result from the expansion of the British Empire, British cultural influence can be observed in the language and culture of a geographically wide assortment of countries such as Canada, Australia, New Zealand, South Africa, India, Pakistan, the United States, and the British overseas territories. These states are sometimes collectively known as the Anglosphere. As well as the British influence on its empire, the empire also influenced British culture, particularly British cuisine. Innovations and movements within the wider-culture of Europe have also changed the United Kingdom; Humanism, Protestantism, and representative democracy have developed from broader Western culture.
As a result of the history of the formation of the United Kingdom, the cultures of England, Scotland, Wales, and Northern Ireland are diverse and have varying degrees of overlap and distinctiveness.
Cuisine
Historically, British cuisine has meant "unfussy dishes made with quality local ingredients, matched with simple sauces to accentuate flavour, rather than disguise it". It has been "vilified as unimaginative and heavy", and traditionally been limited in its international recognition to the full breakfast and the Christmas dinner. This is despite British cuisine having absorbed the culinary influences of those who have settled in Britain, resulting in hybrid dishes such as the British Asian Chicken tikka masala, hailed by some as "Britain's true national dish".
Celtic agriculture and animal breeding produced a wide variety of foodstuffs for Celts and Britons. The Anglo-Saxons developed meat and savoury herb stewing techniques before the practice became common in Europe. The Norman conquest of England introduced exotic spices into Britain in the Middle Ages. The British Empire facilitated a knowledge of India's food tradition of "strong, penetrating spices and herbs". Food rationing policies, imposed by the British government during wartime periods of the 20th century, are said to have been the stimulus for British cuisine's poor international reputation.
British dishes include fish and chips, the Sunday roast, and bangers and mash. British cuisine has several national and regional varieties, including English, Scottish and Welsh cuisine, each of which has developed its own regional or local dishes, many of which are geographically indicated foods such as Cheddar cheese, Cheshire cheese, the Yorkshire pudding, Arbroath Smokie, Cornish pasty and Welsh cakes.
The British are the second largest per capita tea consumers in the world, consuming an average of per person each year. British tea culture dates back to the 19th century, when India was part of the British Empire and British interests controlled tea production in the subcontinent.
Languages
There is no single British language, though English is by far the main language spoken by British citizens, being spoken monolingually by more than 70% of the UK population. English is therefore the de facto official language of the United Kingdom. However, under the European Charter for Regional or Minority Languages, the Welsh, Scottish Gaelic, Cornish, Irish Gaelic, Ulster Scots, Manx, Scots and Lowland Scots languages are officially recognised as Regional or Minority languages by the UK Government. Insular varieties of Norman are recognised languages of the Bailiwicks of Jersey and Guernsey, although they are dying. Standard French is an official language of both bailiwicks. As indigenous languages which continue to be spoken as a first language by native inhabitants, Welsh and Scottish Gaelic have a different legal status from other minority languages. In some parts of the UK, some of these languages are commonly spoken as a first language; in wider areas, their use in a bilingual context is sometimes supported or promoted by central or local government policy. For naturalisation purposes, a competence standard of English, Scottish Gaelic or Welsh is required to pass the life in the United Kingdom test. However, English is used routinely, and although considered culturally important, Scottish Gaelic and Welsh are much less used.
Throughout the United Kingdom there are distinctive spoken expressions and regional accents of English, which are seen to be symptomatic of a locality's culture and identity. An awareness and knowledge of accents in the United Kingdom can "place, within a few miles, the locality in which a man or woman has grown up".
Literature
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
Famous authors include some of the world's most studied and praised writers. William Shakespeare and Christopher Marlowe defined England's Elizabethan period. The British Romantic movement was one of the strongest and most recognisable in Europe. The poets William Blake, Wordsworth and Coleridge were amongst the pioneers of Romanticism in literature. Other Romantic writers that followed these figure further enhanced the profile of Romanticism in Europe, such as John Keats, Percy Bysshe Shelley and Lord Byron. Later periods like the Victorian Era saw a further flourishing of British writing, including Charles Dickens and William Thackeray.
Women's literature in Britain has had a long and often troubled history, with many female writers producing work under a pen name, such as George Eliot. Other great female novelists that have contributed to world literature are Frances Burney, Frances Hodgson Burnett, Virginia Woolf, Jane Austen and the Brontë sisters, Emily, Charlotte and Anne.
Non-fiction has also played an important role in the history of British letters, with the first dictionary of the English language being produced and compiled by Samuel Johnson, a graduate of Oxford University and a London resident.
Media and music
Although cinema, theatre, dance and live music are popular, the favourite pastime of the British is watching television. Public broadcast television in the United Kingdom began in 1936, with the launch of the BBC Television Service (now BBC One). In the United Kingdom and the Crown dependencies, one must have a television licence to legally receive any broadcast television service, from any source. This includes the commercial channels, cable and satellite transmissions, and the Internet. Revenue generated from the television licence is used to provide radio, television and Internet content for the British Broadcasting Corporation, and Welsh language television programmes for S4C. The BBC, the common abbreviation of the British Broadcasting Corporation, is the world's largest broadcaster. Unlike other broadcasters in the UK, it is a public service based, quasi-autonomous, statutory corporation run by the BBC Trust. Free-to-air terrestrial television channels available on a national basis are BBC One, BBC Two, ITV, Channel 4 (S4C in Wales), and Five.
100 Greatest British Television Programmes was a list compiled by the British Film Institute in 2000, chosen by a poll of industry professionals, to determine what were the greatest British television programmes of any genre ever to have been screened. Topping the list was Fawlty Towers, a British sitcom set in a fictional Torquay hotel starring John Cleese.
"British musical tradition is essentially vocal", dominated by the music of England and Germanic culture, most greatly influenced by hymns and Anglican church music. However, the specific, traditional music of Wales and music of Scotland is distinct, and of the Celtic musical tradition. In the United Kingdom, more people attend live music performances than football matches. British rock was born in the mid-20th century out of the influence of rock and roll and rhythm and blues from the United States. Major early exports were The Beatles, The Rolling Stones, The Who and The Kinks. Together with other bands from the United Kingdom, these constituted the British Invasion, a popularisation of British pop and rock music in the United States. Into the 1970s heavy metal, new wave, and 2 tone. Britpop is a subgenre of alternative rock that emerged from the British independent music scene of the early 1990s and was characterised by bands reviving British guitar pop music of the 1960s and 1970s. Leading exponents of Britpop were Blur, Oasis and Pulp. Also popularised in the United Kingdom during the 1990s were several domestically produced varieties of electronic dance music; acid house, UK hard house, jungle, UK garage which in turn have influenced grime and British hip hop in the 2000s. The BRIT Awards are the British Phonographic Industry's annual awards for both international and British popular music.
Religion
Historically, Christianity has been the most influential and important religion in Britain, and it remains the declared faith of the majority of the British people. The influence of Christianity on British culture has been "widespread, extending beyond the spheres of prayer and worship. Churches and cathedrals make a significant contribution to the architectural landscape of the nation's cities and towns" whilst "many schools and hospitals were founded by men and women who were strongly influenced by Christian motives". Throughout the United Kingdom, Easter and Christmas, the "two most important events in the Christian calendar", are recognised as public holidays.
Christianity remains the major religion of the population of the United Kingdom in the 21st century, followed by Islam, Hinduism, Sikhism and then Judaism in terms of numbers of adherents. The 2007 Tearfund Survey revealed 53% identified themselves as Christian, which was similar to the 2004 British Social Attitudes Survey, and to the United Kingdom Census 2001 in which 71.6% said that Christianity was their religion, However, the Tearfund Survey showed only one in ten Britons attend church weekly. Secularism was advanced in Britain during the Age of Enlightenment, and modern British organisations such as the British Humanist Association and the National Secular Society offer the opportunity for their members to "debate and explore the moral and philosophical issues in a non-religious setting".
The Treaty of Union that led to the formation of the Kingdom of Great Britain ensured that there would be a Protestant succession as well as a link between church and state that still remains. The Church of England (Anglican) is legally recognised as the established church, and so retains representation in the Parliament of the United Kingdom through the Lords Spiritual, whilst the British monarch is a member of the church as well as its Supreme Governor. The Church of England also retains the right to draft legislative measures (related to religious administration) through the General Synod that can then be passed into law by Parliament. The Roman Catholic Church in England and Wales is the second largest Christian church with around five million members, mainly in England. There are also growing Orthodox, Evangelical and Pentecostal churches, with Pentecostal churches in England now third after the Church of England and the Roman Catholic Church in terms of church attendance. Other large Christian groups include Methodists and Baptists.
The Presbyterian Church of Scotland (known informally as The Kirk), is recognised as the national church of Scotland and not subject to state control. The British monarch is an ordinary member and is required to swear an oath to "defend the security" of the church upon his or her accession. The Roman Catholic Church in Scotland is Scotland's second largest Christian church, with followers representing a sixth of the population of Scotland. The Scottish Episcopal Church, which is part of the Anglican Communion, dates from the final establishment of Presbyterianism in Scotland in 1690, when it split from the Church of Scotland over matters of theology and ritual. Further splits in the Church of Scotland, especially in the 19th century, led to the creation of other Presbyterian churches in Scotland, including the Free Church of Scotland. In the 1920s, the Church in Wales became independent from the Church of England and became 'disestablished' but remains in the Anglican Communion. Methodism and other Protestant churches have had a major presence in Wales. The main religious groups in Northern Ireland are organised on an all-Ireland basis. Though collectively Protestants constitute the overall majority, the Roman Catholic Church of Ireland is the largest single church. The Presbyterian Church in Ireland, closely linked to the Church of Scotland in terms of theology and history, is the second largest church followed by the Church of Ireland (Anglican) which was disestablished in the 19th century.
Sport
Sport is an important element of British culture, and is one of the most popular leisure activities of Britons. Within the United Kingdom, nearly half of all adults partake in one or more sporting activity each week. Some of the major sports in the United Kingdom "were invented by the British", including football, rugby union, rugby league and cricket, and "exported various other games" including tennis, badminton, boxing, golf, snooker and squash.
In most sports, separate organisations, teams and clubs represent the individual countries of the United Kingdom at international level, though in some sports, like rugby union, an all-Ireland team represents both Northern Ireland and Ireland (Republic of), and the British and Irish Lions represent Ireland and Britain as a whole. The UK is represented by a single team at the Olympic Games and at the 2012 Summer Olympics, the Great Britain team won 65 medals: 29 gold (the most since the 1908 Summer Olympics), 17 silver and 19 bronze, ranking them 3rd. In total, sportsmen and women from the UK "hold over 50 world titles in a variety of sports, such as professional boxing, rowing, snooker, squash and motorcycle sports".
A 2006 poll found that association football was the most popular sport in the UK. In England 320 football clubs are affiliated to The Football Association (FA) and more than 42,000 clubs to regional or district associations. The FA, founded in 1863, and the Football League, founded in 1888, were both the first of their kind in the world. In Scotland there are 78 full and associate clubs and nearly 6,000 registered clubs under the jurisdiction of the Scottish Football Association. Two Welsh clubs play in England's Football League and others at non-league level, whilst the Welsh Football League contains 20 semi-professional clubs. In Northern Ireland, 12 semi-professional clubs play in the IFA Premiership, the second oldest league in the world.
Recreational fishing, particularly angling, is one of the most popular participation activities in the United Kingdom, with an estimated 3–4 million anglers in the country. The most widely practised form of angling in England and Wales is for coarse fish while in Scotland angling is usually for salmon and trout.
Visual art and architecture
For centuries, artists and architects in Britain were overwhelmingly influenced by Western art history. Amongst the first visual artists credited for developing a distinctly British aesthetic and artistic style is William Hogarth. The experience of military, political and economic power from the rise of the British Empire, led to a very specific drive in artistic technique, taste and sensibility in the United Kingdom. Britons used their art "to illustrate their knowledge and command of the natural world", whilst the permanent settlers in British North America, Australasia, and South Africa "embarked upon a search for distinctive artistic expression appropriate to their sense of national identity". The empire has been "at the centre, rather than in the margins, of the history of British art", and imperial British visual arts have been fundamental to the construction, celebration and expression of Britishness.
British attitudes to modern art were "polarised" at the end of the 19th century. Modernist movements were both cherished and vilified by artists and critics; Impressionism was initially regarded by "many conservative critics" as a "subversive foreign influence", but became "fully assimilated" into British art during the early-20th century. Representational art was described by Herbert Read during the interwar period as "necessarily... revolutionary", and was studied and produced to such an extent that by the 1950s, Classicism was effectively void in British visual art. Post-modern, contemporary British art, particularly that of the Young British Artists, has been pre-occupied with postcolonialism, and "characterised by a fundamental concern with material culture ... perceived as a post-imperial cultural anxiety".
Architecture of the United Kingdom is diverse; most influential developments have usually taken place in England, but Ireland, Scotland, and Wales have at various times played leading roles in architectural history. Although there are prehistoric and classical structures in the British Isles, British architecture effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities. Secular medieval architecture throughout Britain has left a legacy of large stone castles, with the "finest examples" being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitiated the development of new artistic styles for domestic architecture: Tudor style, English Baroque, The Queen Anne Style and Palladian. Georgian and Neoclassical architecture advanced after the Scottish Enlightenment. Outside the United Kingdom, the influence of British architecture is particularly strong in South India, the result of British rule in India in the 19th century. The Indian cities of Bangalore, Chennai, and Mumbai each have courts, hotels and train stations designed in British architectural styles of Gothic Revivalism and neoclassicism.
Political culture
British political culture is tied closely with its institutions and civics, and a "subtle fusion of new and old values". The principle of constitutional monarchy, with its notions of stable parliamentary government and political liberalism, "have come to dominate British culture". These views have been reinforced by Sir Bernard Crick who said:
British political institutions include the Westminster system, the Commonwealth of Nations and Privy Council of the United Kingdom. Although the Privy Council is primarily a British institution, officials from other Commonwealth realms are also appointed to the body. The most notable continuing instance is the Prime Minister of New Zealand, its senior politicians, Chief Justice and Court of Appeal judges are conventionally made Privy Counsellors, as the prime ministers and chief justices of Canada and Australia used to be. Prime Ministers of Commonwealth countries which retain the British monarch as their sovereign continue to be sworn as Privy Counsellors.
Universal suffrage for all males over 21 was granted in 1918 and for adult women in 1928 after the Suffragette movement. Politics in the United Kingdom is multi-party, with three dominant political parties: the Conservative Party, the Labour Party and the Scottish National Party. The social structure of Britain, specifically social class, has "long been pre-eminent among the factors used to explain party allegiance", and still persists as "the dominant basis" of party political allegiance for Britons. The Conservative Party is descended from the historic Tory Party (founded in England in 1678), and is a centre-right conservative political party, which traditionally draws support from the middle classes. The Labour Party (founded by Scotsman Keir Hardie) grew out of the trade union movement and socialist political parties of the 19th century, and continues to describe itself as a "democratic socialist party". Labour states that it stands for the representation of the low-paid working class, who have traditionally been its members and voters. The Scottish National Party is the third largest political party in the UK in terms of both party membership and representation in parliament, having won 56 out of 59 Scottish seats at the 2015 General Election. The Liberal Democrats are a liberal political party, and fourth largest in England in terms of membership and MPs elected. It is descended from the Liberal Party, a major ruling party of 19th-century UK through to the First World War, when it was supplanted by the Labour Party. The Liberal Democrats have historically drawn support from wide and "differing social backgrounds". There are over 300 other, smaller political parties in the United Kingdom registered to the Electoral Commission.
Classification
According to the British Social Attitudes Survey, there are broadly two interpretations of British identity, with ethnic and civic dimensions:
Of the two perspectives of British identity, the civic definition has become "the dominant idea ... by far", and in this capacity, Britishness is sometimes considered an institutional or overarching state identity. This has been used to explain why first-, second- and third-generation immigrants are more likely to describe themselves as British, rather than English, because it is an "institutional, inclusive" identity, that can be acquired through naturalisation and British nationality law; the vast majority of people in the United Kingdom who are from an ethnic minority feel British.
However, this attitude is more common in England than in Scotland or Wales; "white English people perceived themselves as English first and as British second, and most people from ethnic minority backgrounds perceived themselves as British, but none identified as English, a label they associated exclusively with white people". Contrawise, in Scotland and Wales, White British and ethnic minority people both identified more strongly with Scotland and Wales than with Britain.
Studies and surveys have "reported that the majority of the Scots and Welsh see themselves as both Scottish/Welsh and British though with some differences in emphasis". The Commission for Racial Equality found that with respect to notions of nationality in Britain, "the most basic, objective and uncontroversial conception of the British people is one that includes the English, the Scots and the Welsh". However, "English participants tended to think of themselves as indistinguishably English or British, while both Scottish and Welsh participants identified themselves much more readily as Scottish or Welsh than as British".
Some persons opted "to combine both identities" as "they felt Scottish or Welsh, but held a British passport and were therefore British", whereas others saw themselves as exclusively Scottish or exclusively Welsh and "felt quite divorced from the British, whom they saw as the English". Commentators have described this latter phenomenon as "nationalism", a rejection of British identity because some Scots and Welsh interpret it as "cultural imperialism imposed" upon the United Kingdom by "English ruling elites", or else a response to a historical misappropriation of equating the word "English" with "British", which has "brought about a desire among Scots, Welsh and Irish to learn more about their heritage and distinguish themselves from the broader British identity".
See also
Anti-British sentiment
Lists of British people
100 Greatest Britons
References
Citations
Sources
Further reading
External links
British society
Ethnic groups in the United Kingdom | true | [
"Skyscraper Live with Nik Wallenda is a Discovery Channel special that aired on November 2, 2014. The special was billed as a highwire walk by Nik Wallenda across the city of Chicago in the United States. Specifically, he walked wires between three skyscrapers \"all of which are taller than the Washington Monument.\" On one of the walks, he was blindfolded; on the other the wire was at a 19 degree incline.\n\nThe event was broadcast live on the Discovery Channel in the United States and in over 220 countries around the world. Viewing figures for the special ranked it as one of the most-watched live broadcasts on American television since 2010. An official mobile game, SkyBalance by Nik Wallenda, was also developed by Tapinator, Inc. to coincide with the event. Critical reaction to the event was largely positive.\n\nThe act and telecast\nEven Wallenda's training and preparation for this event received substantial attention.\n\nIn the special, highwire artist Nik Wallenda walked along a tightrope between three buildings in Chicago, without a tether or net to catch him if he fell. After completing the first walk, he undertook a second walk while blindfolded. Wallenda completed the first walk in seven minutes, and did the blindfolded walk in a little over a minute. The telecast was on a ten-second delay in case something went wrong with Wallenda's walk.\n\nNik Wallenda is a seventh generation member of The Flying Wallendas, and this event was billed as an homage to his great-grandfather.\n\nBroadcast and ratings\nSkyscraper Live was broadcast live in over 200 countries worldwide. It was a ratings success in the United States, ranking as Discovery's most watched live telecast of the year. However, its viewership was less than for their previous Nik Wallenda special, Skywire Live, which delivered Discovery's highest-ever rating for a live broadcast in 2013. The show generated a lot of interest on social media. According to the Nielsen rankings, Skyscraper Live with Nik Wallenda became Discovery Channel's highest rated live telecast of 2014. It had an average of 5.82 million total viewers and the blindfold section of the challenge was watched by 6.72 million people. The show, as a whole, registered an average of 2.17 among 25- to 54-year-olds. The television ratings site TVbytheNumbers confirmed that, excluding last year's Skywire Live, Skyscraper Live was Discovery Channel's most watched telecast since 2010. The telecast also featured a teaser for the then-upcoming Discovery Channel special Eaten Alive.\n\nCritical reception\nThe reaction from critics to Wallenda's latest dangerous televised act was largely positive. Melissa Locker of TIME magazine described the stunts as \"thrilling\" and that \"[Wallenda]'s years of experience don't make his stunts any less harrowing to watch\".\n\nVariety's Brian Lowry was less than complimentary about the presenters, writing \"Willie Geist and Natalie Morales... merely seemed to prove that they will say any inane thing put in front of them on a teleprompter – over and over again\". He also wrote that \"it's difficult not to lament the notion of major news divisions thrusting so much effort and energy into fabricating events that could be funneled into more conventional reporting\". But he was impressed by the visual aspect of the event, as \"the vertigo-inducing aerial shots remain pretty dazzling, although not as impressive this time as they were amid the natural beauty of the Grand Canyon.\"\n\nThe Guardian described the \"overhyped\" stunt as an anachronistic form of “urban disruption” and “urban terrorism” even as it harkened back to the daredevil feats and fatal plunge of Karl WallendaNik's great-grandfather and inspiration.\n\nReferences\n\nNotes\n\nCitations\n\nExternal links\n\n2010s American television specials\n2014 television specials\nDiscovery Channel original programming\nEnglish-language television shows\nAmerican live television shows\nTightrope walking",
"HMS Discovery was the consort ship of James Cook's third expedition to the Pacific Ocean in 1776–1780. Like Cook's other ships, Discovery was a Whitby-built collier originally named Diligence when she was built in 1774. Purchased in 1775, the vessel was measured at 299 tons burthen. Originally a brig, Cook had her changed to a full-rigged ship. She was commanded by Charles Clerke, who had previously served on Cook's first two expeditions, and had a complement of 70. After Cook was killed in a skirmish following his attempted kidnapping of Hawaiian leader Kalaniʻōpuʻu, Clerke transferred to the expedition's flagship HMS Resolution and John Gore assumed command of Discovery. She returned to Britain under the command of Lieutenant James King, arriving back on 4 October 1780.\n\nAfter returning to the Nore in 1780, Discovery was fitted out as a transport at Woolwich Dockyard, serving as such between December 1780 and May 1781. She then became a dockyard craft at Woolwich, and was broken up at Chatham Dockyard in October 1797.\n\nThe ship is the main namesake for the United States National Aeronautics and Space Administration Space Shuttle Orbiter Discovery.\n\nSee also\n European and American voyages of scientific exploration\n Age of Discovery\n\nReferences\n\n \n Rif Winfield, British Warships in the Age of Sail, 1714-1792 (Seaforth Publishing, 2007).\n Beaglehole, J.C.: The Life of Captain James Cook. .\n\nExternal links\n \n Ships of the World entry\n Digitised copies of the original logs of HMS Discovery, British Atmospheric Data Centre/The National Archives as part of the CORRAL project\n\n \n\n1774 ships\nShips built in Whitby\nJames Cook\nExploration ships of the United Kingdom\nSloops of the Royal Navy\nAge of Discovery ships"
]
|
[
"British people",
"Union and the development of Britishness",
"Who became united?",
"the Kingdoms of England and Scotland",
"What led to their union?",
"drawing increasingly together\" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603.",
"Are there any other interesting aspects about this article?",
"the Age of Discovery gave new-found imperial power and wealth to the English and Welsh",
"What was the Age of Discovery?",
"English maritime explorations",
"Was the Age of Discovery a positive thing?",
"\"catastrophic failure\""
]
| C_a479cbb94c45445996c5347a9527d23e_0 | Why was it a catastrophic failure? | 6 | Why was the Age of Discovery a catastrophic failure? | British people | Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures--the Bill of Rights 1689 and Claim of Right Act 1689 respectively--which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations. While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet--the colony of New Caledonia--on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost. The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme. CANNOTANSWER | an estimated "25% of Scotland's total liquid capital" lost. | The British people or Britons, also known colloquially as Brits, are the citizens of the United Kingdom of Great Britain and Northern Ireland, the British Overseas Territories, and the Crown dependencies. British nationality law governs modern British citizenship and nationality, which can be acquired, for instance, by descent from British nationals. When used in a historical context, "British" or "Britons" can refer to the Ancient Britons, the indigenous inhabitants of Great Britain and Brittany, whose surviving members are the modern Welsh people, Cornish people, and Bretons. It also refers to citizens of the former British Empire, who settled in the country prior to 1973, and hold neither UK citizenship nor nationality.
Though early assertions of being British date from the Late Middle Ages, the Union of the Crowns in 1603 and the creation of the Kingdom of Great Britain in 1707 triggered a sense of British national identity. The notion of Britishness and a shared British identity was forged during the 18th century and early 19th century when Britain engaged in several global conflicts with France, and developed further during the Victorian era. The complex history of the formation of the United Kingdom created a "particular sense of nationhood and belonging" in Great Britain and Ireland; Britishness became "superimposed on much older identities", of English, Scots, Welsh, and Irish cultures, whose distinctiveness still resists notions of a homogenised British identity. Because of longstanding ethno-sectarian divisions, British identity in Northern Ireland is controversial, but it is held with strong conviction by Unionists.
Modern Britons are descended mainly from the varied ethnic groups that settled in Great Britain in and before the 11th century: Prehistoric, Brittonic, Roman, Anglo-Saxon, Norse, and Normans. The progressive political unification of the British Isles facilitated migration, cultural and linguistic exchange, and intermarriage between the peoples of England, Scotland and Wales during the late Middle Ages, early modern period and beyond. Since 1922 and earlier, there has been immigration to the United Kingdom by people from what is now the Republic of Ireland, the Commonwealth, mainland Europe and elsewhere; they and their descendants are mostly British citizens, with some assuming a British, dual or hyphenated identity. This includes the groups Black British and Asian British people, which together constitute around 10% of the British population.
The British are a diverse, multinational, multicultural and multilingual society, with "strong regional accents, expressions and identities". The social structure of the United Kingdom has changed radically since the 19th century, with a decline in religious observance, enlargement of the middle class, and increased ethnic diversity, particularly since the 1950s, when citizens of the British Empire were encouraged to immigrate to Britain to work as part of the recovery from World War II. The population of the UK stands at around 66 million, with a British diaspora of around 140 million concentrated in the United States, Australia, Canada, and New Zealand, with smaller concentrations in the Republic of Ireland, Chile, South Africa, and parts of the Caribbean.
History of the term
The earliest known reference to the inhabitants of Great Britain may have come from 4th century BC records of the voyage of Pytheas, a Greek geographer who made a voyage of exploration around the British Isles. Although none of his own writings remain, writers during the time of the Roman Empire made much reference to them. Pytheas called the islands collectively (hai Brettaniai), which has been translated as the Brittanic Isles, and the peoples of what are today England, Wales, Scotland and the Isle of Man of Prettanike were called the (Prettanoi), Priteni, Pritani or Pretani.
The group included Ireland, which was referred to as Ierne (Insula sacra "sacred island" as the Greeks interpreted it) "inhabited by the different race of Hiberni" (gens hibernorum), and Britain as insula Albionum, "island of the Albions". The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.
Greek and Roman writers, in the 1st century BC and the 1st century AD, name the inhabitants of Great Britain and Ireland as the Priteni, the origin of the Latin word Britanni. It has been suggested that this name derives from a Gaulish description translated as "people of the forms", referring to the custom of tattooing or painting their bodies with blue woad made from Isatis tinctoria. Parthenius, a 1st-century Ancient Greek grammarian, and the Etymologicum Genuinum, a 9th-century lexical encyclopaedia, mention a mythical character Bretannus (the Latinised form of the , Brettanós) as the father of Celtine, mother of Celtus, the eponymous ancestor of the Celts.
By 50 BC Greek geographers were using equivalents of Prettanikē as a collective name for the British Isles. However, with the Roman conquest of Britain the Latin term Britannia was used for the island of Great Britain, and later Roman-occupied Britain south of Caledonia (modern day Scotland north of the rivers Forth & Clyde), although the people of Caledonia and the north were also the self same Britons during the Roman period, the Gaels arriving four centuries later. Following the end of Roman rule in Britain, the island of Great Britain was left open to invasion by pagan, seafaring warriors such as Germanic-speaking Anglo-Saxons and Jutes from Continental Europe, who gained control in areas around the south east, and to Middle Irish-speaking people migrating from what is today Northern Ireland to the north of Great Britain (modern Scotland), founding Gaelic kingdoms such as Dál Riata and Alba, which would eventually subsume the native Brittonic and Pictish kingdoms and become Scotland.
In this sub-Roman Britain, as Anglo-Saxon culture spread across southern and eastern Britain and Gaelic through much of the north, the demonym "Briton" became restricted to the Brittonic-speaking inhabitants of what would later be called Wales, Cornwall, North West England (Cumbria), and a southern part of Scotland(Strathclyde). In addition the term was also applied to Brittany in what is today France and Britonia in north west Spain, both regions having been colonised by Britons in the 5th century fleeing the Anglo-Saxon invasions. However, the term Britannia persisted as the Latin name for the island. The Historia Brittonum claimed legendary origins as a prestigious genealogy for Brittonic kings, followed by the Historia Regum Britanniae which popularised this pseudo-history to support the claims of the Kings of England.
During the Middle Ages, and particularly in the Tudor period, the term "British" was used to refer to the Welsh people and Cornish people. At that time, it was "the long held belief that these were the remaining descendants of the Britons and that they spoke 'the British tongue. This notion was supported by texts such as the Historia Regum Britanniae, a pseudohistorical account of ancient British history, written in the mid-12th century by Geoffrey of Monmouth. The Historia Regum Britanniae chronicled the lives of legendary kings of the Britons in a narrative spanning 2000 years, beginning with the Trojans founding the ancient British nation and continuing until the Anglo-Saxon settlement of Britain in the 7th century forced the Britons to the west, i.e. Wales and Cornwall, and north, i.e. Cumbria, Strathclyde and northern Scotland. This legendary Celtic history of Great Britain is known as the Matter of Britain. The Matter of Britain, a national myth, was retold or reinterpreted in works by Gerald of Wales, a Cambro-Norman chronicler who in the 12th and 13th centuries used the term British to refer to the people later known as the Welsh.
History
Ancestral roots
The indigenous people of the British Isles have a combination of Celtic, Anglo-Saxon, Norse and Norman ancestry.
Between the 8th and 11th centuries, "three major cultural divisions" had emerged in Great Britain: the English, the Scots and the Welsh, the earlier Brittonic Celtic polities in what are today England and Scotland having finally been absorbed into Anglo-Saxon England and Gaelic Scotland by the early 11th century. The English had been unified under a single nation state in 937 by King Athelstan of Wessex after the Battle of Brunanburh. Before then, the English (known then in Old English as the Anglecynn) were under the governance of independent Anglo-Saxon petty kingdoms which gradually coalesced into a Heptarchy of seven powerful states, the most powerful of which were Mercia and Wessex. Scottish historian and archaeologist Neil Oliver said that the Battle of Brunanburh would "define the shape of Britain into the modern era", it was a "showdown for two very different ethnic identities – a Norse Celtic alliance versus Anglo Saxon. It aimed to settle once and for all whether Britain would be controlled by a single imperial power or remain several separate independent kingdoms, a split in perceptions which is still very much with us today". However, historian Simon Schama suggested that it was Edward I of England who was solely "responsible for provoking the peoples of Britain into an awareness of their nationhood" in the 13th century. Schama hypothesised that Scottish national identity, "a complex amalgam" of Gaelic, Brittonic, Pictish, Norsemen and Anglo-Norman origins, was not finally forged until the Wars of Scottish Independence against the Kingdom of England in the late 13th and early 14th centuries.
Though Wales was conquered by England, and its legal system replaced by that of the Kingdom of England under the Laws in Wales Acts 1535–1542, the Welsh endured as a nation distinct from the English, and to some degree the Cornish people, although conquered into England by the 11th century, also retained a distinct Brittonic identity and language. Later, with both an English Reformation and a Scottish Reformation, Edward VI of England, under the counsel of Edward Seymour, 1st Duke of Somerset, advocated a union with the Kingdom of Scotland, joining England, Wales, and Scotland in a united Protestant Great Britain. The Duke of Somerset supported the unification of the English, Welsh and Scots under the "indifferent old name of Britons" on the basis that their monarchies "both derived from a Pre-Roman British monarchy".
Following the death of Elizabeth I of England in 1603, the throne of England was inherited by James VI, King of Scots, so that the Kingdom of England and the Kingdom of Scotland were united in a personal union under James VI of Scotland and I of England, an event referred to as the Union of the Crowns. King James advocated full political union between England and Scotland, and on 20 October 1604 proclaimed his assumption of the style "King of Great Britain", though this title was rejected by both the Parliament of England and the Parliament of Scotland, and so had no basis in either English law or Scots law.
Union and the development of Britishness
Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures—the Bill of Rights 1689 and Claim of Right Act 1689 respectively—which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations.
While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet—the colony of New Caledonia—on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost.
The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme.
Union of Scotland and England
Despite opposition from within both Scotland and England, a Treaty of Union was agreed in 1706 and was then ratified by the parliaments of both countries with the passing of the Acts of Union 1707. With effect from 1 May 1707, this created a new sovereign state called the "Kingdom of Great Britain". This kingdom "began as a hostile merger", but led to a "full partnership in the most powerful going concern in the world"; historian Simon Schama stated that "it was one of the most astonishing transformations in European history".
After 1707, a British national identity began to develop, though it was initially resisted, particularly by the English. The peoples of Great Britain had by the 1750s begun to assume a "layered identity": to think of themselves as simultaneously British and also Scottish, English, or Welsh.
The terms North Briton and South Briton were devised for the Scots and the English respectively, with the former gaining some preference in Scotland, particularly by the economists and philosophers of the Scottish Enlightenment. Indeed, it was the "Scots [who] played key roles in shaping the contours of British identity"; "their scepticism about the Union allowed the Scots the space and time in which
to dominate the construction of Britishness in its early crucial years", drawing upon the notion of a shared "spirit of liberty common to both Saxon and Celt ... against the usurpation of the Church of Rome". James Thomson was a poet and playwright born to a Church of Scotland minister in the Scottish Lowlands in 1700 who was interested in forging a common British culture and national identity in this way. In collaboration with Thomas Arne, they wrote Alfred, an opera about Alfred the Great's victory against the Vikings performed to Frederick, Prince of Wales in 1740 to commemorate the accession of George I and the birthday of Princess Augusta. "Rule, Britannia!" was the climactic piece of the opera and quickly became a "jingoistic" British patriotic song celebrating "Britain's supremacy offshore". An island country with a series of victories for the Royal Navy associated empire and naval warfare "inextricably with ideals of Britishness and Britain's place in the world".
Britannia, the new national personification of Great Britain, was established in the 1750s as a representation of "nation and empire rather than any single national hero". On Britannia and British identity, historian Peter Borsay wrote:
From the Union of 1707 through to the Battle of Waterloo in 1815, Great Britain was "involved in successive, very dangerous wars with Catholic France", but which "all brought enough military and naval victories ... to flatter British pride". As the Napoleonic Wars with the First French Empire advanced, "the English and Scottish learned to define themselves as similar primarily by virtue of not being French or Catholic". In combination with sea power and empire, the notion of Britishness became more "closely bound up with Protestantism", a cultural commonality through which the English, Scots and Welsh became "fused together, and remain[ed] so, despite their many cultural divergences".
The neo-classical monuments that proliferated at the end of the 18th century and the start of the 19th century, such as The Kymin at Monmouth, were attempts to meld the concepts of Britishness with the Greco-Roman empires of classical antiquity. The new and expanding British Empire provided "unprecedented opportunities for upward mobility and the accumulations of wealth", and so the "Scottish, Welsh and Irish populations were prepared to suppress nationalist issues on pragmatic grounds". The British Empire was "crucial to the idea of a British identity and to the self-image of Britishness". Indeed, the Scottish welcomed Britishness during the 19th century "for it offered a context within which they could hold on to their own identity whilst participating in, and benefiting from, the expansion of the [British] Empire". Similarly, the "new emphasis of Britishness was broadly welcomed by the Welsh who considered themselves to be the lineal descendants of the ancient Britons – a word that was still used to refer exclusively to the Welsh". For the English, however, by the Victorian era their enthusiastic adoption of Britishness had meant that, for them, Britishness "meant the same as 'Englishness'", so much so that "Englishness and Britishness" and "'England' and 'Britain' were used interchangeably in a variety of contexts". Britishness came to borrow heavily from English political history because England had "always been the dominant component of the British Isles in terms of size, population and power"; Magna Carta, common law and hostility to continental Europe were English factors that influenced British sensibilities.
Union with Ireland
The political union in 1800 of the predominantly Catholic Kingdom of Ireland with Great Britain, coupled with the outbreak of peace with France in the early 19th century, challenged the previous century's concept of militant Protestant Britishness. The new, expanded United Kingdom of Great Britain and Ireland meant that the state had to re-evaluate its position on the civil rights of Catholics, and extend its definition of Britishness to the Irish people. Like the terms that had been invented at the time of the Acts of Union 1707, "West Briton" was introduced for the Irish after 1800. In 1832 Daniel O'Connell, an Irish politician who campaigned for Catholic Emancipation, stated in Britain's House of Commons:
Ireland, from 1801 to 1923, was marked by a succession of economic and political mismanagement and neglect, which marginalised the Irish, and advanced Irish nationalism. In the forty years that followed the Union, successive British governments grappled with the problems of governing a country which had as Benjamin Disraeli, a staunch anti-Irish and anti-Catholic member of the Conservative party with a virulent racial and religious prejudice towards Ireland put it in 1844, "a starving population, an absentee aristocracy, and an alien Church, and in addition the weakest executive in the world". Although the vast majority of Unionists in Ireland proclaimed themselves "simultaneously Irish and British", even for them there was a strain upon the adoption of Britishness after the Great Famine.
War continued to be a unifying factor for the people of Great Britain: British jingoism re-emerged during the Boer Wars in southern Africa. The experience of military, political and economic power from the rise of the British Empire led to a very specific drive in artistic technique, taste and sensibility for Britishness. In 1887, Frederic Harrison wrote:
The Catholic Relief Act 1829 reflected a "marked change in attitudes" in Great Britain towards Catholics and Catholicism. A "significant" example of this was the collaboration between Augustus Welby Pugin, an "ardent Roman Catholic" and son of a Frenchman, and Sir Charles Barry, "a confirmed Protestant", in redesigning the Palace of Westminster—"the building that most enshrines ... Britain's national and imperial pre-tensions". Protestantism gave way to imperialism as the leading element of British national identity during the Victorian and Edwardian eras, and as such, a series of royal, imperial and national celebrations were introduced to the British people to assert imperial British culture and give themselves a sense of uniqueness, superiority and national consciousness. Empire Day and jubilees of Queen Victoria were introduced to the British middle class, but quickly "merged into a national 'tradition'".
Modern period
The First World War "reinforced the sense of Britishness" and patriotism in the early 20th century. Through war service (including conscription in Great Britain), "the English, Welsh, Scots and Irish fought as British". The aftermath of the war institutionalised British national commemoration through Remembrance Sunday and the Poppy Appeal. The Second World War had a similar unifying effect upon the British people, however, its outcome was to recondition Britishness on a basis of democratic values and its marked contrast to Europeanism. Notions that the British "constituted an Island race, and that it stood for democracy were reinforced during the war and they were circulated in the country through Winston Churchill's speeches, history books and newspapers".
At its international zenith, "Britishness joined peoples around the world in shared traditions and common loyalties that were strenuously maintained". But following the two world wars, the British Empire experienced rapid decolonisation. The secession of the Irish Free State from the United Kingdom meant that Britishness had lost "its Irish dimension" in 1922, and the shrinking empire supplanted by independence movements dwindled the appeal of British identity in the Commonwealth of Nations during the mid-20th century.
Since the British Nationality Act 1948 and the subsequent mass immigration to the United Kingdom from the Commonwealth and elsewhere in the world, "the expression and experience of cultural life in Britain has become fragmented and reshaped by the influences of gender, ethnicity, class and region". Furthermore, the United Kingdom's membership of the European Economic Community in 1973 eroded the concept of Britishness as distinct from continental Europe. As such, since the 1970s "there has been a sense of crisis about what it has meant to be British", exacerbated by growing demands for greater political autonomy for Northern Ireland, Scotland, and Wales.
The late 20th century saw major changes to the politics of the United Kingdom with the establishment of devolved national administrations for Northern Ireland, Scotland, and Wales following pre-legislative referendums. Calls for greater autonomy for the four countries of the United Kingdom had existed since their original union with each other, but gathered pace in the 1960s and 1970s. Devolution has led to "increasingly assertive Scottish, Welsh and Irish national identities", resulting in more diverse cultural expressions of Britishness, or else its outright rejection: Gwynfor Evans, a Welsh nationalist politician active in the late 20th century, rebuffed Britishness as "a political synonym for Englishness which extends English culture over the Scots, Welsh and the Irish".
In 2004 Sir Bernard Crick, political theorist and democratic socialist tasked with developing the life in the United Kingdom test said:
Gordon Brown initiated a debate on British identity in 2006. Brown's speech to the Fabian Society's Britishness Conference proposed that British values demand a new constitutional settlement and symbols to represent a modern patriotism, including a new youth community service scheme and a British Day to celebrate. One of the central issues identified at the Fabian Society conference was how the English identity fits within the framework of a devolved United Kingdom. An expression of Her Majesty's Government's initiative to promote Britishness was the inaugural Veterans' Day which was first held on 27 June 2006. As well as celebrating the achievements of armed forces veterans, Brown's speech at the first event for the celebration said:
In 2018, the Windrush scandal illustrated complex developments in British peoplehood, when it was revealed hundreds of Britons had been wrongfully deported. With roots in the break-up of the empire, and post-war rebuilding; the Windrush generation had arrived as CUKC citizens in the 1950s and 1960s. Born in former British colonies, they settled in the UK before 1973, and were granted “right of abode” by the Immigration Act 1971. Having faced removal, or been deported, many British people of African Caribbean heritage suffered with loss of home, livelihood, and health. As a result of the political scandal, many institutions and elected politicians publicly affirmed that these individuals, while not legally holding British citizenship or nationality, were, in fact, British people. These included British Prime Minister Theresa May, London Mayor Sadiq Khan, Her Majesty's CPS Inspectorate Wendy Williams and her House of Commons-ordered Windrush Lessons Learned Review, the Chartered Institute of Housing, Amnesty International, University of Oxford's social geographer Danny Dorling, and other public figures.
Geographic distribution
The earliest migrations of Britons date from the 5th and 6th centuries AD, when Brittonic Celts fleeing the Anglo-Saxon invasions migrated what is today northern France and north western Spain and forged the colonies of Brittany and Britonia. Brittany remained independent of France until the early 16th century and still retains a distinct Brittonic culture and language, whilst Britonia in modern Galicia was absorbed into Spanish states by the end of the 9th century AD.
Britons – people with British citizenship or of British descent – have a significant presence in a number of countries other than the United Kingdom, and in particular in those with historic connections to the British Empire. After the Age of Discovery, the British were one of the earliest and largest communities to emigrate out of Europe, and the British Empire's expansion during the first half of the 19th century triggered an "extraordinary dispersion of the British people", resulting in particular concentrations "in Australasia and North America".
The British Empire was "built on waves of migration overseas by British people", who left the United Kingdom and "reached across the globe and permanently affected population structures in three continents". As a result of the British colonisation of the Americas, what became the United States was "easily the greatest single destination of emigrant British", but in Australia the British experienced a birth rate higher than "anything seen before", resulting in the displacement of indigenous Australians.
In colonies such as Southern Rhodesia, British East Africa and Cape Colony, permanently resident British communities were established and whilst never more than a numerical minority, these Britons "exercised a dominant influence" upon the culture and politics of those lands. In Australia, Canada and New Zealand, "people of British origin came to constitute the majority of the population" contributing to these states becoming integral to the Anglosphere.
The United Kingdom Census 1861 estimated the size of the overseas British to be around 2.5 million, but concluded that most of these were "not conventional settlers" but rather "travellers, merchants, professionals, and military personnel". By 1890, there were over 1.5 million further UK-born people living in Australia, Canada, New Zealand and South Africa. A 2006 publication from the Institute for Public Policy Research estimated 5.6 million Britons lived outside of the United Kingdom.
Outside of the United Kingdom and its Overseas Territories, the largest proportions of people of self-identified ethnic British descent in the world are found in New Zealand (59%), Australia (46%) and Canada (31%), followed by a considerably smaller minority in the United States (10.7%) and parts of the Caribbean. Hong Kong has the highest proportion of British citizens outside of the United Kingdom and its Overseas Territories, with 47% of Hong Kong residents holding a British National (Overseas) citizenship or a British citizenship.
Australia
From the beginning of Australia's colonial period until after the Second World War, people from the United Kingdom made up a large majority of people coming to Australia, meaning that many people born in Australia can trace their origins to Britain. The colony of New South Wales, founded on 26 January 1788, was part of the eastern half of Australia claimed by the Kingdom of Great Britain in 1770, and initially settled by Britons through penal transportation. Together with another five largely self-governing Crown Colonies, the federation of Australia was achieved on 1 January 1901.
Its history of British dominance meant that Australia was "grounded in British culture and political traditions that had been transported to the Australian colonies in the nineteenth century and become part of colonial culture and politics". Australia maintains the Westminster system of Parliamentary Government and Elizabeth II as Queen of Australia. Until 1987, the national status of Australian citizens was formally described as "British Subject: Citizen of Australia". Britons continue to make up a substantial proportion of immigrants.
By 1947, Australia was fundamentally British in origin with 7,524,129 or 99.3% of the population declaring themselves as European. In the most recent 2016 census, a large proportion of Australians self-identified with British ancestral origins, including 36.1% or 7,852,224 as English and 9.3% (2,023,474) as Scottish alone. A substantial proportion —33.5%— chose to identify as ‘Australian’, the census Bureau has stated that most of these are of Anglo-Celtic colonial stock.
All 6 states of Australia retain the Union Jack in the canton of their respective flags.
British Overseas Territories
The approximately 250,000 people of the British Overseas Territories are British by citizenship, via origins or naturalisation. Along with aspects of common British identity, each of them has their own distinct identity shaped in the respective particular circumstances of political, economic, ethnic, social and cultural history. For instance, in the case of the Falkland Islanders, Lewis Clifton the Speaker of the Legislative Council of the Falkland Islands, explains:
In contrast, for the majority of the Gibraltarians, who live in Gibraltar, there is an "insistence on their Britishness" which "carries excessive loyalty" to Britain. The sovereignty of Gibraltar has been a point of contention in Spain–United Kingdom relations, but an overwhelming number of Gibraltarians embrace Britishness with strong conviction, in direct opposition to Spanish territorial claims.
Canada
Canada traces its statehood to the French, English, and Scottish expeditions of North America from the late-15th century. France ceded nearly all of New France in 1763 after the Seven Years' War, and so after the United States Declaration of Independence in 1776, Quebec and Nova Scotia formed "the nucleus of the colonies that constituted Britain's remaining stake on the North American continent". British North America attracted the United Empire Loyalists, Britons who migrated out of what they considered the "rebellious" United States, increasing the size of British communities in what was to become Canada.
In 1867 there was a union of three colonies with British North America which together formed the Canadian Confederation, a federal dominion. This began an accretion of additional provinces and territories and a process of increasing autonomy from the United Kingdom, highlighted by the Statute of Westminster 1931 and culminating in the Canada Act 1982, which severed the vestiges of legal dependence on the parliament of the United Kingdom. Nevertheless, it is recognised that there is a "continuing importance of Canada's long and close relationship with Britain"; large parts of Canada's modern population claim "British origins" and the cultural impact of the British upon Canada's institutions is profound.
It was not until 1977 that the phrase "A Canadian citizen is a British subject" ceased to be used in Canadian passports. The politics of Canada are strongly influenced by British political culture. Although significant modifications have been made, Canada is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as The Queen of Canada and Head of State. English is the most commonly spoken language used in Canada and it is an official language of Canada.
British iconography remains present in the design of many Canadian flags, with 10 out of 13 Canadian provincial and territorial flags adopting some form of British symbolism in their design. The Union Jack is also an official ceremonial flag in Canada known as the Royal Union Flag which is flown outside of federal buildings three days of the year.
New Zealand
A long-term result of James Cook's voyage of 1768–1771, a significant number of New Zealanders are of British descent, for whom a sense of Britishness has contributed to their identity. As late as the 1950s, it was common for British New Zealanders to refer to themselves as British, such as when Prime Minister Keith Holyoake described Sir Edmund Hillary's successful ascent of Mount Everest as putting "the British race and New Zealand on top of the world". New Zealand passports described nationals as "British Subject: Citizen of New Zealand" until 1974, when this was changed to "New Zealand citizen".
In an interview with the New Zealand Listener in 2006, Don Brash, the then Leader of the Opposition, said:
The politics of New Zealand are strongly influenced by British political culture. Although significant modifications have been made, New Zealand is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as the head of the monarchy of New Zealand. English is the dominant official language used in New Zealand.
Hong Kong
British nationality law as it pertains to Hong Kong has been unusual ever since Hong Kong became a British colony in 1842. From its beginning as a sparsely populated trading port to its modern role as a cosmopolitan international financial centre of over seven million people, the territory has attracted refugees, immigrants and expatriates alike searching for a new life.
Citizenship matters were complicated by the fact that British nationality law treated those born in Hong Kong as British subjects (although they did not enjoy full rights and citizenship), while the People's Republic of China (PRC) did not recognise Hong Kong Chinese as such. The main reason for this was that recognising these people as British was seen as a tacit acceptance of a series of historical treaties that the PRC labelled as "unequal", including the ones which ceded Hong Kong Island, the Kowloon Peninsula and the New Territories to Britain. The British government, however, recognising the unique political situation of Hong Kong, granted 3.4 million Hong Kongers a new type of nationality known as British National (Overseas), which is established in accordance with the Hong Kong Act 1985. Among those 3.4 million people, there are many British Nationals (Overseas) who are eligible for full British citizenship. Both British Nationals (Overseas) and British citizens are British nationals and Commonwealth citizens according to the British Nationality Law, which enables them to various rights in the United Kingdom and the European Union.
United States
An English presence in North America began with the Roanoke Colony and Colony of Virginia in the late-16th century, but the first successful English settlement was established in 1607, on the James River at Jamestown. By the 1610s an estimated 1,300 English people had travelled to North America, the "first of many millions from the British Isles". In 1620, the Pilgrims established the English imperial venture of Plymouth Colony, beginning "a remarkable acceleration of permanent emigration from England" with over 60% of trans-Atlantic English migrants settling in the New England Colonies. During the 17th century, an estimated 350,000 English and Welsh migrants arrived in North America, which in the century after the Acts of Union 1707 was surpassed in rate and number by Scottish and Irish migrants.
The British policy of salutary neglect for its North American colonies intended to minimise trade restrictions as a way of ensuring they stayed loyal to British interests. This permitted the development of the American Dream, a cultural spirit distinct from that of its European founders. The Thirteen Colonies of British America began an armed rebellion against British rule in 1775 when they rejected the right of the Parliament of Great Britain to govern them without representation; they proclaimed their independence in 1776, and constituted the first thirteen states of the United States of America, which became a sovereign state in 1781 with the ratification of the Articles of Confederation. The 1783 Treaty of Paris represented Great Britain's formal acknowledgement of the United States' sovereignty at the end of the American Revolutionary War.
Nevertheless, longstanding cultural and historical ties have, in more modern times, resulted in the Special Relationship, the historically close political, diplomatic, and military co-operation between the United Kingdom and United States. Linda Colley, a professor of history at Princeton University and specialist in Britishness, suggested that because of their colonial influence on the United States, the British find Americans a "mysterious and paradoxical people, physically distant but culturally close, engagingly similar yet irritatingly different".
For over two centuries (1789-1989) of early U.S. history, all Presidents with the exception of two (Van Buren and Kennedy) were descended from the varied colonial British stock, from the Pilgrims and Puritans to the Scotch-Irish and English who settled the Appalachia.
The largest concentrations of self-reported British ethnic ancestry in the United States were found to be in Utah (35%), Maine (30%), New Hampshire (25%) and Vermont (25%) at the 2015 American Community Survey. Overall, 10.7% of Americans reported their ethnic ancestry as some form of "British" in the 2013–17 ACS, behind German and African ancestries and on par with Mexican and Irish ancestries.
Chile
Approximately 4% of Chile's population is of British or Irish descent. Over 50,000 British immigrants settled in Chile from 1840 to 1914. A significant number of them settled in Magallanes Province, especially in the city of Punta Arenas when it flourished as a major global seaport for ships crossing between the Atlantic and Pacific Oceans through the Strait of Magellan. Around 32,000 English settled in Valparaíso, influencing the port city to the extent of making it virtually a British colony during the last decades of the 19th century and the beginning of the 20th century. However, the opening of the Panama Canal in 1914 and the outbreak of the First World War drove many of them away from the city or back to Europe.
In Valparaíso, they created their largest and most important colony, bringing with them neighbourhoods of British character, schools, social clubs, sports clubs, business organisations and periodicals. Even today their influence is apparent in specific areas, such as the banks and the navy, as well as in certain social activities, such as football, horse racing, and the custom of drinking tea.
During the movement for independence (1818), it was mainly the British who formed the Chilean Navy, under the command of Lord Cochrane.
British investment helped Chile become prosperous and British seamen helped the Chilean navy become a strong force in the South Pacific. Chile won two wars, the first against the Peru-Bolivian Confederation and the second, the War of the Pacific, in 1878–79, against an alliance between Peru and Bolivia. The liberal-socialist "Revolution of 1891" introduced political reforms modelled on British parliamentary practice and lawmaking.
British immigrants were also important in the northern zone of the country during the saltpetre boom, in the ports of Iquique and Pisagua. The "King of Saltpetre", John Thomas North, was the principal tycoon of nitrate mining. The British legacy is reflected in the streets of the historic district of the city of Iquique, with the foundation of various institutions, such as the Club Hípico (Racing Club). Nevertheless, the British active presence came to an end with the saltpetre crisis during the 1930s.
Some Scots settled in the country's more temperate regions, where the climate and the forested landscape with glaciers and islands may have reminded them of their homeland (the Highlands and Northern Scotland) while English and Welsh made up the rest. The Irish immigrants, who were frequently confused with the British, arrived as merchants, tradesmen and sailors, settling along with the British in the main trading cities and ports.
An important contingent of British (principally Welsh) immigrants arrived between 1914 and 1950, settling in the present-day region of Magallanes. British families were established in other areas of the country, such as Santiago, Coquimbo, the Araucanía, and Chiloé.
The cultural legacy of the British in Chile is notable and has spread beyond the British Chilean community into society at large. Customs taken from the British include afternoon tea (called onces by Chileans), football, rugby union and horse racing. Another legacy is the widespread use of British personal names by Chileans.
Chile has the largest population of descendants of British settlers in Latin America. Over 700,000 Chileans may have British (English, Scottish and Welsh) origin, amounting to 4.5% of Chile's population.
South Africa
The British arrived in the area which would become the modern-day South Africa during the early 18th century, yet substantial settlement only started end of the 18th century, in the Cape of Good Hope; the British first explored the area for conquests for or related to the Slave Trade. In the late 19th century, the discovery of gold and diamonds further encouraged colonisation of South Africa by the British, and the population of the British-South Africans rose substantially, although there was fierce rivalry between the British and Afrikaners (descendants of Dutch colonists) in the period known as the Boer Wars. When apartheid first started most British-South Africans were mostly keen on keeping and even strengthening its ties with the United Kingdom. The latest census in South Africa showed that there are almost 2 million British-South Africans; they make up about 40% of the total White South African demographic, and the greatest white British ancestry populations in South Africa are in the KwaZulu-Natal province and in the cities of Cape Town, Durban and Port Elizabeth.
Ireland
Plantations of Ireland introduced large numbers of people from Great Britain to Ireland throughout the Middle Ages and early modern period. The resulting Protestant Ascendancy, the aristocratic class of the Lordship of Ireland, broadly identified themselves as Anglo-Irish. In the sixteenth and seventeenth centuries, Protestant British settlers subjugated Catholic, Gaelic inhabitants in the north of Ireland during the Plantation of Ulster and the Williamite War in Ireland; it was "an explicit attempt to control Ireland strategically by introducing ethnic and religious elements loyal to the British interest in Ireland".
The Ulster Scots people are an ethnic group of British origin in Ireland, broadly descended from Lowland Scots who settled in large numbers in the Province of Ulster during the planned process of colonisations of Ireland which took place in the reign of James VI of Scotland and I of England. Together with English and Welsh settlers, these Scots introduced Protestantism (particularly the Presbyterianism of the Church of Scotland) and the Ulster Scots and English languages to, mainly, northeastern Ireland. With the partition of Ireland and independence for what is now the Republic of Ireland some of these people found themselves no longer living within the United Kingdom.
Northern Ireland itself was, for many years, the site of a violent and bitter ethno-sectarian conflict—The Troubles—between those claiming to represent Irish nationalism, who are predominantly Roman Catholic, and those claiming to represent British unionism, who are predominantly Protestant. Unionists want Northern Ireland to remain part of the United Kingdom, while nationalists desire a united Ireland.
Since the signing of the Good Friday Agreement in 1998, most of the paramilitary groups involved in the Troubles have ceased their armed campaigns, and constitutionally, the people of Northern Ireland have been recognised as "all persons born in Northern Ireland and having, at the time of their birth, at least one parent who is a British citizen, an Irish citizen or is otherwise entitled to reside in Northern Ireland without any restriction on their period of residence". The Good Friday Agreement guarantees the "recognition of the birthright of all the people of Northern Ireland to identify themselves and be accepted as Irish or British, or both, as they may so choose".
Culture
Result from the expansion of the British Empire, British cultural influence can be observed in the language and culture of a geographically wide assortment of countries such as Canada, Australia, New Zealand, South Africa, India, Pakistan, the United States, and the British overseas territories. These states are sometimes collectively known as the Anglosphere. As well as the British influence on its empire, the empire also influenced British culture, particularly British cuisine. Innovations and movements within the wider-culture of Europe have also changed the United Kingdom; Humanism, Protestantism, and representative democracy have developed from broader Western culture.
As a result of the history of the formation of the United Kingdom, the cultures of England, Scotland, Wales, and Northern Ireland are diverse and have varying degrees of overlap and distinctiveness.
Cuisine
Historically, British cuisine has meant "unfussy dishes made with quality local ingredients, matched with simple sauces to accentuate flavour, rather than disguise it". It has been "vilified as unimaginative and heavy", and traditionally been limited in its international recognition to the full breakfast and the Christmas dinner. This is despite British cuisine having absorbed the culinary influences of those who have settled in Britain, resulting in hybrid dishes such as the British Asian Chicken tikka masala, hailed by some as "Britain's true national dish".
Celtic agriculture and animal breeding produced a wide variety of foodstuffs for Celts and Britons. The Anglo-Saxons developed meat and savoury herb stewing techniques before the practice became common in Europe. The Norman conquest of England introduced exotic spices into Britain in the Middle Ages. The British Empire facilitated a knowledge of India's food tradition of "strong, penetrating spices and herbs". Food rationing policies, imposed by the British government during wartime periods of the 20th century, are said to have been the stimulus for British cuisine's poor international reputation.
British dishes include fish and chips, the Sunday roast, and bangers and mash. British cuisine has several national and regional varieties, including English, Scottish and Welsh cuisine, each of which has developed its own regional or local dishes, many of which are geographically indicated foods such as Cheddar cheese, Cheshire cheese, the Yorkshire pudding, Arbroath Smokie, Cornish pasty and Welsh cakes.
The British are the second largest per capita tea consumers in the world, consuming an average of per person each year. British tea culture dates back to the 19th century, when India was part of the British Empire and British interests controlled tea production in the subcontinent.
Languages
There is no single British language, though English is by far the main language spoken by British citizens, being spoken monolingually by more than 70% of the UK population. English is therefore the de facto official language of the United Kingdom. However, under the European Charter for Regional or Minority Languages, the Welsh, Scottish Gaelic, Cornish, Irish Gaelic, Ulster Scots, Manx, Scots and Lowland Scots languages are officially recognised as Regional or Minority languages by the UK Government. Insular varieties of Norman are recognised languages of the Bailiwicks of Jersey and Guernsey, although they are dying. Standard French is an official language of both bailiwicks. As indigenous languages which continue to be spoken as a first language by native inhabitants, Welsh and Scottish Gaelic have a different legal status from other minority languages. In some parts of the UK, some of these languages are commonly spoken as a first language; in wider areas, their use in a bilingual context is sometimes supported or promoted by central or local government policy. For naturalisation purposes, a competence standard of English, Scottish Gaelic or Welsh is required to pass the life in the United Kingdom test. However, English is used routinely, and although considered culturally important, Scottish Gaelic and Welsh are much less used.
Throughout the United Kingdom there are distinctive spoken expressions and regional accents of English, which are seen to be symptomatic of a locality's culture and identity. An awareness and knowledge of accents in the United Kingdom can "place, within a few miles, the locality in which a man or woman has grown up".
Literature
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
Famous authors include some of the world's most studied and praised writers. William Shakespeare and Christopher Marlowe defined England's Elizabethan period. The British Romantic movement was one of the strongest and most recognisable in Europe. The poets William Blake, Wordsworth and Coleridge were amongst the pioneers of Romanticism in literature. Other Romantic writers that followed these figure further enhanced the profile of Romanticism in Europe, such as John Keats, Percy Bysshe Shelley and Lord Byron. Later periods like the Victorian Era saw a further flourishing of British writing, including Charles Dickens and William Thackeray.
Women's literature in Britain has had a long and often troubled history, with many female writers producing work under a pen name, such as George Eliot. Other great female novelists that have contributed to world literature are Frances Burney, Frances Hodgson Burnett, Virginia Woolf, Jane Austen and the Brontë sisters, Emily, Charlotte and Anne.
Non-fiction has also played an important role in the history of British letters, with the first dictionary of the English language being produced and compiled by Samuel Johnson, a graduate of Oxford University and a London resident.
Media and music
Although cinema, theatre, dance and live music are popular, the favourite pastime of the British is watching television. Public broadcast television in the United Kingdom began in 1936, with the launch of the BBC Television Service (now BBC One). In the United Kingdom and the Crown dependencies, one must have a television licence to legally receive any broadcast television service, from any source. This includes the commercial channels, cable and satellite transmissions, and the Internet. Revenue generated from the television licence is used to provide radio, television and Internet content for the British Broadcasting Corporation, and Welsh language television programmes for S4C. The BBC, the common abbreviation of the British Broadcasting Corporation, is the world's largest broadcaster. Unlike other broadcasters in the UK, it is a public service based, quasi-autonomous, statutory corporation run by the BBC Trust. Free-to-air terrestrial television channels available on a national basis are BBC One, BBC Two, ITV, Channel 4 (S4C in Wales), and Five.
100 Greatest British Television Programmes was a list compiled by the British Film Institute in 2000, chosen by a poll of industry professionals, to determine what were the greatest British television programmes of any genre ever to have been screened. Topping the list was Fawlty Towers, a British sitcom set in a fictional Torquay hotel starring John Cleese.
"British musical tradition is essentially vocal", dominated by the music of England and Germanic culture, most greatly influenced by hymns and Anglican church music. However, the specific, traditional music of Wales and music of Scotland is distinct, and of the Celtic musical tradition. In the United Kingdom, more people attend live music performances than football matches. British rock was born in the mid-20th century out of the influence of rock and roll and rhythm and blues from the United States. Major early exports were The Beatles, The Rolling Stones, The Who and The Kinks. Together with other bands from the United Kingdom, these constituted the British Invasion, a popularisation of British pop and rock music in the United States. Into the 1970s heavy metal, new wave, and 2 tone. Britpop is a subgenre of alternative rock that emerged from the British independent music scene of the early 1990s and was characterised by bands reviving British guitar pop music of the 1960s and 1970s. Leading exponents of Britpop were Blur, Oasis and Pulp. Also popularised in the United Kingdom during the 1990s were several domestically produced varieties of electronic dance music; acid house, UK hard house, jungle, UK garage which in turn have influenced grime and British hip hop in the 2000s. The BRIT Awards are the British Phonographic Industry's annual awards for both international and British popular music.
Religion
Historically, Christianity has been the most influential and important religion in Britain, and it remains the declared faith of the majority of the British people. The influence of Christianity on British culture has been "widespread, extending beyond the spheres of prayer and worship. Churches and cathedrals make a significant contribution to the architectural landscape of the nation's cities and towns" whilst "many schools and hospitals were founded by men and women who were strongly influenced by Christian motives". Throughout the United Kingdom, Easter and Christmas, the "two most important events in the Christian calendar", are recognised as public holidays.
Christianity remains the major religion of the population of the United Kingdom in the 21st century, followed by Islam, Hinduism, Sikhism and then Judaism in terms of numbers of adherents. The 2007 Tearfund Survey revealed 53% identified themselves as Christian, which was similar to the 2004 British Social Attitudes Survey, and to the United Kingdom Census 2001 in which 71.6% said that Christianity was their religion, However, the Tearfund Survey showed only one in ten Britons attend church weekly. Secularism was advanced in Britain during the Age of Enlightenment, and modern British organisations such as the British Humanist Association and the National Secular Society offer the opportunity for their members to "debate and explore the moral and philosophical issues in a non-religious setting".
The Treaty of Union that led to the formation of the Kingdom of Great Britain ensured that there would be a Protestant succession as well as a link between church and state that still remains. The Church of England (Anglican) is legally recognised as the established church, and so retains representation in the Parliament of the United Kingdom through the Lords Spiritual, whilst the British monarch is a member of the church as well as its Supreme Governor. The Church of England also retains the right to draft legislative measures (related to religious administration) through the General Synod that can then be passed into law by Parliament. The Roman Catholic Church in England and Wales is the second largest Christian church with around five million members, mainly in England. There are also growing Orthodox, Evangelical and Pentecostal churches, with Pentecostal churches in England now third after the Church of England and the Roman Catholic Church in terms of church attendance. Other large Christian groups include Methodists and Baptists.
The Presbyterian Church of Scotland (known informally as The Kirk), is recognised as the national church of Scotland and not subject to state control. The British monarch is an ordinary member and is required to swear an oath to "defend the security" of the church upon his or her accession. The Roman Catholic Church in Scotland is Scotland's second largest Christian church, with followers representing a sixth of the population of Scotland. The Scottish Episcopal Church, which is part of the Anglican Communion, dates from the final establishment of Presbyterianism in Scotland in 1690, when it split from the Church of Scotland over matters of theology and ritual. Further splits in the Church of Scotland, especially in the 19th century, led to the creation of other Presbyterian churches in Scotland, including the Free Church of Scotland. In the 1920s, the Church in Wales became independent from the Church of England and became 'disestablished' but remains in the Anglican Communion. Methodism and other Protestant churches have had a major presence in Wales. The main religious groups in Northern Ireland are organised on an all-Ireland basis. Though collectively Protestants constitute the overall majority, the Roman Catholic Church of Ireland is the largest single church. The Presbyterian Church in Ireland, closely linked to the Church of Scotland in terms of theology and history, is the second largest church followed by the Church of Ireland (Anglican) which was disestablished in the 19th century.
Sport
Sport is an important element of British culture, and is one of the most popular leisure activities of Britons. Within the United Kingdom, nearly half of all adults partake in one or more sporting activity each week. Some of the major sports in the United Kingdom "were invented by the British", including football, rugby union, rugby league and cricket, and "exported various other games" including tennis, badminton, boxing, golf, snooker and squash.
In most sports, separate organisations, teams and clubs represent the individual countries of the United Kingdom at international level, though in some sports, like rugby union, an all-Ireland team represents both Northern Ireland and Ireland (Republic of), and the British and Irish Lions represent Ireland and Britain as a whole. The UK is represented by a single team at the Olympic Games and at the 2012 Summer Olympics, the Great Britain team won 65 medals: 29 gold (the most since the 1908 Summer Olympics), 17 silver and 19 bronze, ranking them 3rd. In total, sportsmen and women from the UK "hold over 50 world titles in a variety of sports, such as professional boxing, rowing, snooker, squash and motorcycle sports".
A 2006 poll found that association football was the most popular sport in the UK. In England 320 football clubs are affiliated to The Football Association (FA) and more than 42,000 clubs to regional or district associations. The FA, founded in 1863, and the Football League, founded in 1888, were both the first of their kind in the world. In Scotland there are 78 full and associate clubs and nearly 6,000 registered clubs under the jurisdiction of the Scottish Football Association. Two Welsh clubs play in England's Football League and others at non-league level, whilst the Welsh Football League contains 20 semi-professional clubs. In Northern Ireland, 12 semi-professional clubs play in the IFA Premiership, the second oldest league in the world.
Recreational fishing, particularly angling, is one of the most popular participation activities in the United Kingdom, with an estimated 3–4 million anglers in the country. The most widely practised form of angling in England and Wales is for coarse fish while in Scotland angling is usually for salmon and trout.
Visual art and architecture
For centuries, artists and architects in Britain were overwhelmingly influenced by Western art history. Amongst the first visual artists credited for developing a distinctly British aesthetic and artistic style is William Hogarth. The experience of military, political and economic power from the rise of the British Empire, led to a very specific drive in artistic technique, taste and sensibility in the United Kingdom. Britons used their art "to illustrate their knowledge and command of the natural world", whilst the permanent settlers in British North America, Australasia, and South Africa "embarked upon a search for distinctive artistic expression appropriate to their sense of national identity". The empire has been "at the centre, rather than in the margins, of the history of British art", and imperial British visual arts have been fundamental to the construction, celebration and expression of Britishness.
British attitudes to modern art were "polarised" at the end of the 19th century. Modernist movements were both cherished and vilified by artists and critics; Impressionism was initially regarded by "many conservative critics" as a "subversive foreign influence", but became "fully assimilated" into British art during the early-20th century. Representational art was described by Herbert Read during the interwar period as "necessarily... revolutionary", and was studied and produced to such an extent that by the 1950s, Classicism was effectively void in British visual art. Post-modern, contemporary British art, particularly that of the Young British Artists, has been pre-occupied with postcolonialism, and "characterised by a fundamental concern with material culture ... perceived as a post-imperial cultural anxiety".
Architecture of the United Kingdom is diverse; most influential developments have usually taken place in England, but Ireland, Scotland, and Wales have at various times played leading roles in architectural history. Although there are prehistoric and classical structures in the British Isles, British architecture effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities. Secular medieval architecture throughout Britain has left a legacy of large stone castles, with the "finest examples" being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitiated the development of new artistic styles for domestic architecture: Tudor style, English Baroque, The Queen Anne Style and Palladian. Georgian and Neoclassical architecture advanced after the Scottish Enlightenment. Outside the United Kingdom, the influence of British architecture is particularly strong in South India, the result of British rule in India in the 19th century. The Indian cities of Bangalore, Chennai, and Mumbai each have courts, hotels and train stations designed in British architectural styles of Gothic Revivalism and neoclassicism.
Political culture
British political culture is tied closely with its institutions and civics, and a "subtle fusion of new and old values". The principle of constitutional monarchy, with its notions of stable parliamentary government and political liberalism, "have come to dominate British culture". These views have been reinforced by Sir Bernard Crick who said:
British political institutions include the Westminster system, the Commonwealth of Nations and Privy Council of the United Kingdom. Although the Privy Council is primarily a British institution, officials from other Commonwealth realms are also appointed to the body. The most notable continuing instance is the Prime Minister of New Zealand, its senior politicians, Chief Justice and Court of Appeal judges are conventionally made Privy Counsellors, as the prime ministers and chief justices of Canada and Australia used to be. Prime Ministers of Commonwealth countries which retain the British monarch as their sovereign continue to be sworn as Privy Counsellors.
Universal suffrage for all males over 21 was granted in 1918 and for adult women in 1928 after the Suffragette movement. Politics in the United Kingdom is multi-party, with three dominant political parties: the Conservative Party, the Labour Party and the Scottish National Party. The social structure of Britain, specifically social class, has "long been pre-eminent among the factors used to explain party allegiance", and still persists as "the dominant basis" of party political allegiance for Britons. The Conservative Party is descended from the historic Tory Party (founded in England in 1678), and is a centre-right conservative political party, which traditionally draws support from the middle classes. The Labour Party (founded by Scotsman Keir Hardie) grew out of the trade union movement and socialist political parties of the 19th century, and continues to describe itself as a "democratic socialist party". Labour states that it stands for the representation of the low-paid working class, who have traditionally been its members and voters. The Scottish National Party is the third largest political party in the UK in terms of both party membership and representation in parliament, having won 56 out of 59 Scottish seats at the 2015 General Election. The Liberal Democrats are a liberal political party, and fourth largest in England in terms of membership and MPs elected. It is descended from the Liberal Party, a major ruling party of 19th-century UK through to the First World War, when it was supplanted by the Labour Party. The Liberal Democrats have historically drawn support from wide and "differing social backgrounds". There are over 300 other, smaller political parties in the United Kingdom registered to the Electoral Commission.
Classification
According to the British Social Attitudes Survey, there are broadly two interpretations of British identity, with ethnic and civic dimensions:
Of the two perspectives of British identity, the civic definition has become "the dominant idea ... by far", and in this capacity, Britishness is sometimes considered an institutional or overarching state identity. This has been used to explain why first-, second- and third-generation immigrants are more likely to describe themselves as British, rather than English, because it is an "institutional, inclusive" identity, that can be acquired through naturalisation and British nationality law; the vast majority of people in the United Kingdom who are from an ethnic minority feel British.
However, this attitude is more common in England than in Scotland or Wales; "white English people perceived themselves as English first and as British second, and most people from ethnic minority backgrounds perceived themselves as British, but none identified as English, a label they associated exclusively with white people". Contrawise, in Scotland and Wales, White British and ethnic minority people both identified more strongly with Scotland and Wales than with Britain.
Studies and surveys have "reported that the majority of the Scots and Welsh see themselves as both Scottish/Welsh and British though with some differences in emphasis". The Commission for Racial Equality found that with respect to notions of nationality in Britain, "the most basic, objective and uncontroversial conception of the British people is one that includes the English, the Scots and the Welsh". However, "English participants tended to think of themselves as indistinguishably English or British, while both Scottish and Welsh participants identified themselves much more readily as Scottish or Welsh than as British".
Some persons opted "to combine both identities" as "they felt Scottish or Welsh, but held a British passport and were therefore British", whereas others saw themselves as exclusively Scottish or exclusively Welsh and "felt quite divorced from the British, whom they saw as the English". Commentators have described this latter phenomenon as "nationalism", a rejection of British identity because some Scots and Welsh interpret it as "cultural imperialism imposed" upon the United Kingdom by "English ruling elites", or else a response to a historical misappropriation of equating the word "English" with "British", which has "brought about a desire among Scots, Welsh and Irish to learn more about their heritage and distinguish themselves from the broader British identity".
See also
Anti-British sentiment
Lists of British people
100 Greatest Britons
References
Citations
Sources
Further reading
External links
British society
Ethnic groups in the United Kingdom | true | [
"A catastrophic failure is a sudden and total failure from which recovery is impossible. Catastrophic failures often lead to cascading systems failure. The term is most commonly used for structural failures, but has often been extended to many other disciplines in which total and irrecoverable loss occurs, such as a head crash occurrence on a hard disk drive. Such failures are investigated using the methods of forensic engineering, which aims to isolate the cause or causes of failure.\n\nFor example, catastrophic failure can be observed in steam turbine rotor failure, which can occur due to peak stress on the rotor; stress concentration increases up to a point at which it is excessive, leading ultimately to the failure of the disc.\n\nIn firearms, catastrophic failure usually refers to a rupture or disintegration of the barrel or receiver of the gun when firing it. Some possible causes of this are an out-of-battery gun, an inadequate headspace, the use of incorrect ammunition, the use of ammunition with an incorrect propellant charge, a partially or fully obstructed barrel, or weakened metal in the barrel or receiver. A failure of this type, known colloquially as a \"kaboom\", or \"kB\" failure, can pose a threat not only to the user(s) but even many bystanders.\n\nIn chemical engineering, thermal runaway can cause catastrophic failure.\n\nExamples\n\nExamples of catastrophic failure of engineered structures include:\n The Tay Rail Bridge disaster of 1879, where the center of the bridge was completely destroyed while a train was crossing in a storm. The bridge was badly designed and its replacement was built as a separate structure upstream of the old.\n The failure of the South Fork Dam in 1889 released 4.8 billion US gallons (18 billion litres) of water and killed over 2,200 people (popularly known as the Johnstown Flood).\n The collapse of the St. Francis Dam in 1928 released 12.4 billion US gallons (47 billion litres) of water, resulting in a death toll of nearly 600 people.\n The collapse of the first Tacoma Narrows Bridge of 1940, where the main deck of the road bridge was totally destroyed by dynamic oscillations in a wind.\n The De Havilland Comet disasters of 1954, later determined to be structural failures due to metal fatigue that had not been anticipated at the corners of square windows used by the Comet 1.\n The 62 Banqiao Dams failure event in China in 1975, due to Typhoon Nina. Approximately 86,000 people died from flooding and another 145,000 died from subsequent diseases, a total of 231,000 deaths.\n The Hyatt Regency walkway collapse of 1981, where a suspended walkway in a hotel lobby in Kansas City, Missouri, collapsed completely, killing over 100 people on and below the structure.\n The Space Shuttle Challenger disaster of 1986, in which an O-ring of a rocket booster failed, causing the external fuel tank to break up and making the shuttle veer off course, subjecting it to aerodynamic forces beyond design tolerances; the entire crew and vehicle were lost.\n The nuclear reactor at the Chernobyl power plant, which exploded in 1986 causing the release of a substantial amount of radioactive materials.\n The collapse of the Warsaw radio mast of 1991, which had up to that point held the title of world's tallest structure.\n The Sampoong Department Store collapse of 1995, which happened due to structural weaknesses, killed 502 people and injured 937.\n The terrorist attacks and subsequent fire at the World Trade Center on September 11, 2001, weakened the floor joists to the point of catastrophic failure.\n The Space Shuttle Columbia disaster of 2003, where damage to a wing during launch resulted in total loss upon re-entry.\n The collapse of the multi-span I-35W Mississippi River bridge on August 1, 2007.\n The collapse of the Olivos-Tezonco Mexico City Metro overpass of 2021, which had structurally weakened over the years.\n\nSee also\nDragon King Theory\nList of bridge disasters\nSeismic performance\nStructural collapse\nStructural failure\nResonance disaster\nRisks to civilization, humans and planet Earth\n\nReferences\n\nBuilding engineering\nCivil engineering\nFailure",
"AC 25.1309–1 is an FAA Advisory Circular (AC) (Subject: System Design and Analysis) that describes acceptable means for showing compliance with the airworthiness requirements of § 25.1309 of the Federal Aviation Regulations. The present unreleased but working draft of AC 25.1309–1 is the Aviation Rulemaking Advisory Committee recommended revision B-Arsenal Draft (2002); the present released version is A (1988). The FAA and EASA have accepted proposals by type certificate applicants to use the Arsenal Draft on recent development programs.\n\nAC 25.1309–1 establishes the principle that the more severe the hazard resulting from a system or equipment failure, the less likely that failure must be. Failures that are catastrophic must be extremely improbable.\n\nAirworthiness standards \nThe airworthiness requirements for transport category airplanes are contained in Title 14, Code of Federal Regulations (14 CFR) part 25 (commonly referred to as part 25 of the Federal Aviation Regulations (FAR)). Manufacturers of transport category airplanes must show that each airplane they produce of a given type design complies with the relevant standards of part 25.\n\nAC 25.1309–1 describes acceptable means for showing compliance with those airworthiness requirements. It recognizes Aerospace Recommended Practices ARP4754 and ARP4761 (or their successors) as such means:\nARP4754A, Guidelines For Development Of Civil Aircraft and Systems, is a guideline from SAE International, dealing with the development processes which support certification of Aircraft systems. This ARP further recognizes integration of DO-297, DO-178, and DO-254 into the guidelines for development and recognizes ARP5150/5151 as guidelines for in-service operation and maintenance.\nARP4761, Guidelines and Methods for Conducting the Safety Assessment Process On Civil Airborne Systems and Equipment\n\nBackground \nAC 25.1309–1 provides background for important concepts and issues within airplane system design and analysis.\nCatastrophic failure condition rate\nThe circular provides a rationale for the upper limit for the Average Probability per Flight Hour for Catastrophic Failure Conditions of 1 x 10−9 or \"Extremely Improbable\". Failure Conditions having less severe effects could be relatively more likely to occur; that is, an inverse relationship between severity and likelihood.\n\nFail-Safe Design Concept\nThis AC presents the FAA Fail-Safe Design Concept, which applies basic objectives pertaining to failures:\nFailures of any system should be assumed for any given flight regardless of probability and such failures \"should not prevent continued safe flight and landing\" or otherwise significantly reduce safety.\nSubsequent failure during the same flight should also be assumed.\nThe AC lists design principles or techniques used to ensure a safe design. Usually, a combination of at least two safe design techniques are needed to provide a fail-safe design; i.e. to ensure that Major Failure Conditions are Remote, Hazardous Failure Conditions are Extremely Remote, and Catastrophic Failure Conditions are Extremely Improbable.\n\nHighly integrated systems\nWith emergence of highly integrated systems that perform complex and interrelated functions, particularly through the use of electronic technology and software-based techniques [e.g., Integrated Modular Avionics (IMA) ], concerns arose that traditionally quantitative functional-level design and analysis techniques previously applied to simpler systems were no longer adequate. As such the AC includes expanded, methodical approaches, both qualitative and quantitative, that consider the integration of the \"whole airplane and its systems\".\n\nDefinitions and Classifications \nA main task of AC 25.1309–1 is to provide standard definitions of terms (including hazard and probability classifications) for consistent use throughout the framework set up for the accomplishment of functional airplane safety. Where regulations (FAR) and standards (ARP) may use such terms as failure condition, and extremely improbable, AC 25.1309–1 defines their specific meanings. In this respect, AC 25.1309–1 is comparable to ISO 26262–1 Vocabulary, at least in regard to the relative dependent standards. Key definitions include:\n\nError, Failures, and Failure Conditions\nThe re-introduction of Error to the AC recognizes the role of human error (in development, manufacture, operation, or maintenance) as a source of system failures, especially in complex and integrated avionics. The term Failure Conditions provides for a focus on the effects of a failure separate from the causes.\n\nClassification of failure conditions by severity of effect\nCatastrophic, Hazardous, Major, Minor, or No Safety Effect\nA Catastrophic Failure condition is one \"which would result in multiple fatalities, usually with the loss of the airplane.\"\nDefinition of Probability Terms\nExtremely Improbable, Extremely Remote, Remote, or Probable \nAn Extremely Improbable failure condition is one so unlikely that it is not anticipated to occur during the entire operational life of all airplanes of one type. Quantitatively, these probability terms are define as follows: Extremely Improbable (10−9 or less), Extremely Remote (10−7 or less), Remote (10−5 or less), Probable (more than 10−5).\n\nSafety Objectives \nClassified failure conditions are assigned qualitative and quantitative safety objectives, giving guidance to development and operation.\nQuantitative\nThe AC defines the acceptable safety level for equipment and systems as installed on the airplane and establishes an inverse relationship between Average Probability per Flight Hour and the severity of Failure Condition effects:\nFailure Conditions with No Safety Effect have no probability requirement.\nMinor Failure Conditions may be Probable.\nMajor Failure Conditions must be no more frequent than Remote.\nHazardous Failure Conditions must be no more frequent than Extremely Remote.\nCatastrophic Failure Conditions must be Extremely Improbable.\nThe safety objectives associated with Catastrophic Failure Conditions may be satisfied by demonstrating that:\nNo single failure will result in a Catastrophic Failure Condition; and\nEach Catastrophic Failure Condition is extremely improbable.\nQualitative\nThe failure conditions Catastrophic through No Safety Effect are assigned Functional and Item Design Assurance Levels A, B, C, D, E, respectively.\n\nHistory\nFirst released in 1982, AC 25.1309–1 has been revised to embody increasing experience in development of airplanes and to address the increasing integration and computerization of aircraft functions.\n\nAC 25.1309–1 (original release)\n\nFunction criticality \nAC 25.1309–1 recommended that top-down analysis should identify each system function and evaluate its criticality, i.e., either non-essential, essential, or critical. The terms Error, Failure, and Failure Condition were defined. Functions were classified Critical, Essential, and Non-Essential according to the severity of the failure conditions they could contribute to; but the conditions were not expressly classified. Failures of Critical, Essential, and Non-Essential functions were expected to be, respectively, Extremely Improbable (10–9 or less), Improbable (10–5 or less), or no worse than Probable (10–5).\n\nQualitative methods \nPreviously, system safety analysis was quantitative; that is, it was dependent on evaluating the probability of system failures from physical faults of components. But with the increasing use of digital avionics (i.e., software) it was recognized that development error was a significant contributor to system failure. During system certification in the late 1970s, it became clear that the classical statistical methods of safety assessment for flight critical software based systems were not possible. Existing quantitative methods could not predict system failure rates resultant from development errors. Qualitative methods were instead recommended for reducing specification, design, and implementation errors in the development of digital avionics. \n\nThe guidance of DO-178 (initial release) was recommended by AC 25.1309–1 for development of essential and critical functions implemented in software.\n\nAC 25.1309–1A \nAC 25.1309–1A introduced the FAA Fail-Safe Design Concept to this Advisory Circular. This revision also introduced recommended design principles or techniques in order to ensure a safe design.\n\nClassification of failure conditions by severity \nThe concept of function criticality was replaced with classification of failure conditions according to severity of effects (cf., Probabilistic risk assessment). Failure conditions having Catastrophic, Major, or Minor effects were to have restricted likelihoods, respectively, of Extremely Improbable (10–9 or less), Improbable (10–5 or less), or no worse than Probable (10–5).\n\nSoftware was still considered to be assessed and controlled by other means; that is, by RTCA/DO-178A or later revision, via Advisory Circular AC 20-115A.\n\nAC 25 1309–1B \nIn May 1996, the FAA Aviation Rulemaking Advisory Committee (ARAC) was tasked with a review of harmonized FAR/JAR 25.1309, AC 1309-1A, and related documents, and to consider revision to AC 1309-1A incorporating recent practice, increasing complex integration between aircraft functions and the systems that implement them, and the implications of new technology. This task was published in the Federal Register at 61 FR 26246-26247 (1996-05-24). The focus was to be on safety assessment and fault-tolerant critical systems.\n\nIn 2002, the FAA provided a Notice of Proposed Rulemaking (NPRM) relevant to 14 CFR Part 25. Accompanying this notice is the Arsenal draft of AC 1309–1. Existing definitions and rules in § 25.1309 and related standards have posed certain problems to the certification of transport category airplanes. Said problems are discussed at length within the NPRM. The FAA proposed revisions to several related standards in order to eliminate such problems and to clarify the intent of these standards. In some proposed changes, definitions or conventions developed in lower level regulations or standards were adopted or revised within the subsequent Advisory Circular.\n\nRefinement of failure condition classifications \nExperience in application of the prior circulars and ARPs witnessed the division of the Major failure condition into two conditions (for example, Hazardous-severe/Major and Major). Additionally, this experience recognised the existence of failure conditions that have no effect on safety, which could be so classified and thereby assigned no safety objectives. Catastrophic Failure Condition was previously defined as \"any failure condition which would prevent continued safe flight and landing\"; but is now defined as \"Failure conditions which would result in multiple fatalities, usually with the loss of the airplane.\"\n\nExtension of qualitative controls to aircraft functions \nThe FAA Fail-Safe Design Concept and design principles or techniques for safe design are maintained. However, owing to the increasing development of Highly Integrated Systems in aircraft, qualitative controls previously considered necessary for safe software development are extended to the aircraft function level. (Similar guidance (Functional Safety framework) has been provided for highly integrated automotive systems through the 2011, release of ISO 26262.)\n\nSee also\nARP4754\nARP4761\nDO-178C\nDO-254\nISO 26262\nHazard analysis\nFunctional Safety\nSafety engineering\navionics\n\nReferences \n\nAvionics\nFederal Aviation Administration"
]
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[
"British people",
"Union and the development of Britishness",
"Who became united?",
"the Kingdoms of England and Scotland",
"What led to their union?",
"drawing increasingly together\" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603.",
"Are there any other interesting aspects about this article?",
"the Age of Discovery gave new-found imperial power and wealth to the English and Welsh",
"What was the Age of Discovery?",
"English maritime explorations",
"Was the Age of Discovery a positive thing?",
"\"catastrophic failure\"",
"Why was it a catastrophic failure?",
"an estimated \"25% of Scotland's total liquid capital\" lost."
]
| C_a479cbb94c45445996c5347a9527d23e_0 | What happened after the Age of Discovery? | 7 | What happened to Scotland after the Age of Discovery? | British people | Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures--the Bill of Rights 1689 and Claim of Right Act 1689 respectively--which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations. While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet--the colony of New Caledonia--on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost. The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme. CANNOTANSWER | The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 | The British people or Britons, also known colloquially as Brits, are the citizens of the United Kingdom of Great Britain and Northern Ireland, the British Overseas Territories, and the Crown dependencies. British nationality law governs modern British citizenship and nationality, which can be acquired, for instance, by descent from British nationals. When used in a historical context, "British" or "Britons" can refer to the Ancient Britons, the indigenous inhabitants of Great Britain and Brittany, whose surviving members are the modern Welsh people, Cornish people, and Bretons. It also refers to citizens of the former British Empire, who settled in the country prior to 1973, and hold neither UK citizenship nor nationality.
Though early assertions of being British date from the Late Middle Ages, the Union of the Crowns in 1603 and the creation of the Kingdom of Great Britain in 1707 triggered a sense of British national identity. The notion of Britishness and a shared British identity was forged during the 18th century and early 19th century when Britain engaged in several global conflicts with France, and developed further during the Victorian era. The complex history of the formation of the United Kingdom created a "particular sense of nationhood and belonging" in Great Britain and Ireland; Britishness became "superimposed on much older identities", of English, Scots, Welsh, and Irish cultures, whose distinctiveness still resists notions of a homogenised British identity. Because of longstanding ethno-sectarian divisions, British identity in Northern Ireland is controversial, but it is held with strong conviction by Unionists.
Modern Britons are descended mainly from the varied ethnic groups that settled in Great Britain in and before the 11th century: Prehistoric, Brittonic, Roman, Anglo-Saxon, Norse, and Normans. The progressive political unification of the British Isles facilitated migration, cultural and linguistic exchange, and intermarriage between the peoples of England, Scotland and Wales during the late Middle Ages, early modern period and beyond. Since 1922 and earlier, there has been immigration to the United Kingdom by people from what is now the Republic of Ireland, the Commonwealth, mainland Europe and elsewhere; they and their descendants are mostly British citizens, with some assuming a British, dual or hyphenated identity. This includes the groups Black British and Asian British people, which together constitute around 10% of the British population.
The British are a diverse, multinational, multicultural and multilingual society, with "strong regional accents, expressions and identities". The social structure of the United Kingdom has changed radically since the 19th century, with a decline in religious observance, enlargement of the middle class, and increased ethnic diversity, particularly since the 1950s, when citizens of the British Empire were encouraged to immigrate to Britain to work as part of the recovery from World War II. The population of the UK stands at around 66 million, with a British diaspora of around 140 million concentrated in the United States, Australia, Canada, and New Zealand, with smaller concentrations in the Republic of Ireland, Chile, South Africa, and parts of the Caribbean.
History of the term
The earliest known reference to the inhabitants of Great Britain may have come from 4th century BC records of the voyage of Pytheas, a Greek geographer who made a voyage of exploration around the British Isles. Although none of his own writings remain, writers during the time of the Roman Empire made much reference to them. Pytheas called the islands collectively (hai Brettaniai), which has been translated as the Brittanic Isles, and the peoples of what are today England, Wales, Scotland and the Isle of Man of Prettanike were called the (Prettanoi), Priteni, Pritani or Pretani.
The group included Ireland, which was referred to as Ierne (Insula sacra "sacred island" as the Greeks interpreted it) "inhabited by the different race of Hiberni" (gens hibernorum), and Britain as insula Albionum, "island of the Albions". The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.
Greek and Roman writers, in the 1st century BC and the 1st century AD, name the inhabitants of Great Britain and Ireland as the Priteni, the origin of the Latin word Britanni. It has been suggested that this name derives from a Gaulish description translated as "people of the forms", referring to the custom of tattooing or painting their bodies with blue woad made from Isatis tinctoria. Parthenius, a 1st-century Ancient Greek grammarian, and the Etymologicum Genuinum, a 9th-century lexical encyclopaedia, mention a mythical character Bretannus (the Latinised form of the , Brettanós) as the father of Celtine, mother of Celtus, the eponymous ancestor of the Celts.
By 50 BC Greek geographers were using equivalents of Prettanikē as a collective name for the British Isles. However, with the Roman conquest of Britain the Latin term Britannia was used for the island of Great Britain, and later Roman-occupied Britain south of Caledonia (modern day Scotland north of the rivers Forth & Clyde), although the people of Caledonia and the north were also the self same Britons during the Roman period, the Gaels arriving four centuries later. Following the end of Roman rule in Britain, the island of Great Britain was left open to invasion by pagan, seafaring warriors such as Germanic-speaking Anglo-Saxons and Jutes from Continental Europe, who gained control in areas around the south east, and to Middle Irish-speaking people migrating from what is today Northern Ireland to the north of Great Britain (modern Scotland), founding Gaelic kingdoms such as Dál Riata and Alba, which would eventually subsume the native Brittonic and Pictish kingdoms and become Scotland.
In this sub-Roman Britain, as Anglo-Saxon culture spread across southern and eastern Britain and Gaelic through much of the north, the demonym "Briton" became restricted to the Brittonic-speaking inhabitants of what would later be called Wales, Cornwall, North West England (Cumbria), and a southern part of Scotland(Strathclyde). In addition the term was also applied to Brittany in what is today France and Britonia in north west Spain, both regions having been colonised by Britons in the 5th century fleeing the Anglo-Saxon invasions. However, the term Britannia persisted as the Latin name for the island. The Historia Brittonum claimed legendary origins as a prestigious genealogy for Brittonic kings, followed by the Historia Regum Britanniae which popularised this pseudo-history to support the claims of the Kings of England.
During the Middle Ages, and particularly in the Tudor period, the term "British" was used to refer to the Welsh people and Cornish people. At that time, it was "the long held belief that these were the remaining descendants of the Britons and that they spoke 'the British tongue. This notion was supported by texts such as the Historia Regum Britanniae, a pseudohistorical account of ancient British history, written in the mid-12th century by Geoffrey of Monmouth. The Historia Regum Britanniae chronicled the lives of legendary kings of the Britons in a narrative spanning 2000 years, beginning with the Trojans founding the ancient British nation and continuing until the Anglo-Saxon settlement of Britain in the 7th century forced the Britons to the west, i.e. Wales and Cornwall, and north, i.e. Cumbria, Strathclyde and northern Scotland. This legendary Celtic history of Great Britain is known as the Matter of Britain. The Matter of Britain, a national myth, was retold or reinterpreted in works by Gerald of Wales, a Cambro-Norman chronicler who in the 12th and 13th centuries used the term British to refer to the people later known as the Welsh.
History
Ancestral roots
The indigenous people of the British Isles have a combination of Celtic, Anglo-Saxon, Norse and Norman ancestry.
Between the 8th and 11th centuries, "three major cultural divisions" had emerged in Great Britain: the English, the Scots and the Welsh, the earlier Brittonic Celtic polities in what are today England and Scotland having finally been absorbed into Anglo-Saxon England and Gaelic Scotland by the early 11th century. The English had been unified under a single nation state in 937 by King Athelstan of Wessex after the Battle of Brunanburh. Before then, the English (known then in Old English as the Anglecynn) were under the governance of independent Anglo-Saxon petty kingdoms which gradually coalesced into a Heptarchy of seven powerful states, the most powerful of which were Mercia and Wessex. Scottish historian and archaeologist Neil Oliver said that the Battle of Brunanburh would "define the shape of Britain into the modern era", it was a "showdown for two very different ethnic identities – a Norse Celtic alliance versus Anglo Saxon. It aimed to settle once and for all whether Britain would be controlled by a single imperial power or remain several separate independent kingdoms, a split in perceptions which is still very much with us today". However, historian Simon Schama suggested that it was Edward I of England who was solely "responsible for provoking the peoples of Britain into an awareness of their nationhood" in the 13th century. Schama hypothesised that Scottish national identity, "a complex amalgam" of Gaelic, Brittonic, Pictish, Norsemen and Anglo-Norman origins, was not finally forged until the Wars of Scottish Independence against the Kingdom of England in the late 13th and early 14th centuries.
Though Wales was conquered by England, and its legal system replaced by that of the Kingdom of England under the Laws in Wales Acts 1535–1542, the Welsh endured as a nation distinct from the English, and to some degree the Cornish people, although conquered into England by the 11th century, also retained a distinct Brittonic identity and language. Later, with both an English Reformation and a Scottish Reformation, Edward VI of England, under the counsel of Edward Seymour, 1st Duke of Somerset, advocated a union with the Kingdom of Scotland, joining England, Wales, and Scotland in a united Protestant Great Britain. The Duke of Somerset supported the unification of the English, Welsh and Scots under the "indifferent old name of Britons" on the basis that their monarchies "both derived from a Pre-Roman British monarchy".
Following the death of Elizabeth I of England in 1603, the throne of England was inherited by James VI, King of Scots, so that the Kingdom of England and the Kingdom of Scotland were united in a personal union under James VI of Scotland and I of England, an event referred to as the Union of the Crowns. King James advocated full political union between England and Scotland, and on 20 October 1604 proclaimed his assumption of the style "King of Great Britain", though this title was rejected by both the Parliament of England and the Parliament of Scotland, and so had no basis in either English law or Scots law.
Union and the development of Britishness
Despite centuries of military and religious conflict, the Kingdoms of England and Scotland had been "drawing increasingly together" since the Protestant Reformation of the 16th century and the Union of the Crowns in 1603. A broadly shared language, island, monarch, religion and Bible (the Authorized King James Version) further contributed to a growing cultural alliance between the two sovereign realms and their peoples. The Glorious Revolution of 1688 resulted in a pair of Acts of the English and Scottish legislatures—the Bill of Rights 1689 and Claim of Right Act 1689 respectively—which ensured that the shared constitutional monarchy of England and Scotland was held only by Protestants. Despite this, although popular with the monarchy and much of the aristocracy, attempts to unite the two states by Acts of Parliament in 1606, 1667, and 1689 were unsuccessful; increased political management of Scottish affairs from England had led to "criticism", and strained Anglo-Scottish relations.
While English maritime explorations during the Age of Discovery gave new-found imperial power and wealth to the English and Welsh at the end of the 17th century, Scotland suffered from a long-standing weak economy. In response, the Scottish kingdom, in opposition to William II of Scotland (III of England), commenced the Darien Scheme, an attempt to establish a Scottish imperial outlet—the colony of New Caledonia—on the isthmus of Panama. However, through a combination of disease, Spanish hostility, Scottish mismanagement and opposition to the scheme by the East India Company and the English government (who did not want to provoke the Spanish into war) this imperial venture ended in "catastrophic failure" with an estimated "25% of Scotland's total liquid capital" lost.
The events of the Darien Scheme, and the passing by the English Parliament of the Act of Settlement 1701 asserting the right to choose the order of succession for English, Scottish and Irish thrones, escalated political hostilities between England and Scotland, and neutralised calls for a united British people. The Parliament of Scotland responded by passing the Act of Security 1704, allowing it to appoint a different monarch to succeed to the Scottish crown from that of England, if it so wished. The English political perspective was that the appointment of a Jacobite monarchy in Scotland opened up the possibility of a Franco-Scottish military conquest of England during the Second Hundred Years' War and War of the Spanish Succession. The Parliament of England passed the Alien Act 1705, which provided that Scottish nationals in England were to be treated as aliens and estates held by Scots would be treated as alien property, whilst also restricting the import of Scottish products into England and its colonies (about half of Scotland's trade). However, the Act contained a provision that it would be suspended if the Parliament of Scotland entered into negotiations regarding the creation of a unified Parliament of Great Britain, which in turn would refund Scottish financial losses on the Darien Scheme.
Union of Scotland and England
Despite opposition from within both Scotland and England, a Treaty of Union was agreed in 1706 and was then ratified by the parliaments of both countries with the passing of the Acts of Union 1707. With effect from 1 May 1707, this created a new sovereign state called the "Kingdom of Great Britain". This kingdom "began as a hostile merger", but led to a "full partnership in the most powerful going concern in the world"; historian Simon Schama stated that "it was one of the most astonishing transformations in European history".
After 1707, a British national identity began to develop, though it was initially resisted, particularly by the English. The peoples of Great Britain had by the 1750s begun to assume a "layered identity": to think of themselves as simultaneously British and also Scottish, English, or Welsh.
The terms North Briton and South Briton were devised for the Scots and the English respectively, with the former gaining some preference in Scotland, particularly by the economists and philosophers of the Scottish Enlightenment. Indeed, it was the "Scots [who] played key roles in shaping the contours of British identity"; "their scepticism about the Union allowed the Scots the space and time in which
to dominate the construction of Britishness in its early crucial years", drawing upon the notion of a shared "spirit of liberty common to both Saxon and Celt ... against the usurpation of the Church of Rome". James Thomson was a poet and playwright born to a Church of Scotland minister in the Scottish Lowlands in 1700 who was interested in forging a common British culture and national identity in this way. In collaboration with Thomas Arne, they wrote Alfred, an opera about Alfred the Great's victory against the Vikings performed to Frederick, Prince of Wales in 1740 to commemorate the accession of George I and the birthday of Princess Augusta. "Rule, Britannia!" was the climactic piece of the opera and quickly became a "jingoistic" British patriotic song celebrating "Britain's supremacy offshore". An island country with a series of victories for the Royal Navy associated empire and naval warfare "inextricably with ideals of Britishness and Britain's place in the world".
Britannia, the new national personification of Great Britain, was established in the 1750s as a representation of "nation and empire rather than any single national hero". On Britannia and British identity, historian Peter Borsay wrote:
From the Union of 1707 through to the Battle of Waterloo in 1815, Great Britain was "involved in successive, very dangerous wars with Catholic France", but which "all brought enough military and naval victories ... to flatter British pride". As the Napoleonic Wars with the First French Empire advanced, "the English and Scottish learned to define themselves as similar primarily by virtue of not being French or Catholic". In combination with sea power and empire, the notion of Britishness became more "closely bound up with Protestantism", a cultural commonality through which the English, Scots and Welsh became "fused together, and remain[ed] so, despite their many cultural divergences".
The neo-classical monuments that proliferated at the end of the 18th century and the start of the 19th century, such as The Kymin at Monmouth, were attempts to meld the concepts of Britishness with the Greco-Roman empires of classical antiquity. The new and expanding British Empire provided "unprecedented opportunities for upward mobility and the accumulations of wealth", and so the "Scottish, Welsh and Irish populations were prepared to suppress nationalist issues on pragmatic grounds". The British Empire was "crucial to the idea of a British identity and to the self-image of Britishness". Indeed, the Scottish welcomed Britishness during the 19th century "for it offered a context within which they could hold on to their own identity whilst participating in, and benefiting from, the expansion of the [British] Empire". Similarly, the "new emphasis of Britishness was broadly welcomed by the Welsh who considered themselves to be the lineal descendants of the ancient Britons – a word that was still used to refer exclusively to the Welsh". For the English, however, by the Victorian era their enthusiastic adoption of Britishness had meant that, for them, Britishness "meant the same as 'Englishness'", so much so that "Englishness and Britishness" and "'England' and 'Britain' were used interchangeably in a variety of contexts". Britishness came to borrow heavily from English political history because England had "always been the dominant component of the British Isles in terms of size, population and power"; Magna Carta, common law and hostility to continental Europe were English factors that influenced British sensibilities.
Union with Ireland
The political union in 1800 of the predominantly Catholic Kingdom of Ireland with Great Britain, coupled with the outbreak of peace with France in the early 19th century, challenged the previous century's concept of militant Protestant Britishness. The new, expanded United Kingdom of Great Britain and Ireland meant that the state had to re-evaluate its position on the civil rights of Catholics, and extend its definition of Britishness to the Irish people. Like the terms that had been invented at the time of the Acts of Union 1707, "West Briton" was introduced for the Irish after 1800. In 1832 Daniel O'Connell, an Irish politician who campaigned for Catholic Emancipation, stated in Britain's House of Commons:
Ireland, from 1801 to 1923, was marked by a succession of economic and political mismanagement and neglect, which marginalised the Irish, and advanced Irish nationalism. In the forty years that followed the Union, successive British governments grappled with the problems of governing a country which had as Benjamin Disraeli, a staunch anti-Irish and anti-Catholic member of the Conservative party with a virulent racial and religious prejudice towards Ireland put it in 1844, "a starving population, an absentee aristocracy, and an alien Church, and in addition the weakest executive in the world". Although the vast majority of Unionists in Ireland proclaimed themselves "simultaneously Irish and British", even for them there was a strain upon the adoption of Britishness after the Great Famine.
War continued to be a unifying factor for the people of Great Britain: British jingoism re-emerged during the Boer Wars in southern Africa. The experience of military, political and economic power from the rise of the British Empire led to a very specific drive in artistic technique, taste and sensibility for Britishness. In 1887, Frederic Harrison wrote:
The Catholic Relief Act 1829 reflected a "marked change in attitudes" in Great Britain towards Catholics and Catholicism. A "significant" example of this was the collaboration between Augustus Welby Pugin, an "ardent Roman Catholic" and son of a Frenchman, and Sir Charles Barry, "a confirmed Protestant", in redesigning the Palace of Westminster—"the building that most enshrines ... Britain's national and imperial pre-tensions". Protestantism gave way to imperialism as the leading element of British national identity during the Victorian and Edwardian eras, and as such, a series of royal, imperial and national celebrations were introduced to the British people to assert imperial British culture and give themselves a sense of uniqueness, superiority and national consciousness. Empire Day and jubilees of Queen Victoria were introduced to the British middle class, but quickly "merged into a national 'tradition'".
Modern period
The First World War "reinforced the sense of Britishness" and patriotism in the early 20th century. Through war service (including conscription in Great Britain), "the English, Welsh, Scots and Irish fought as British". The aftermath of the war institutionalised British national commemoration through Remembrance Sunday and the Poppy Appeal. The Second World War had a similar unifying effect upon the British people, however, its outcome was to recondition Britishness on a basis of democratic values and its marked contrast to Europeanism. Notions that the British "constituted an Island race, and that it stood for democracy were reinforced during the war and they were circulated in the country through Winston Churchill's speeches, history books and newspapers".
At its international zenith, "Britishness joined peoples around the world in shared traditions and common loyalties that were strenuously maintained". But following the two world wars, the British Empire experienced rapid decolonisation. The secession of the Irish Free State from the United Kingdom meant that Britishness had lost "its Irish dimension" in 1922, and the shrinking empire supplanted by independence movements dwindled the appeal of British identity in the Commonwealth of Nations during the mid-20th century.
Since the British Nationality Act 1948 and the subsequent mass immigration to the United Kingdom from the Commonwealth and elsewhere in the world, "the expression and experience of cultural life in Britain has become fragmented and reshaped by the influences of gender, ethnicity, class and region". Furthermore, the United Kingdom's membership of the European Economic Community in 1973 eroded the concept of Britishness as distinct from continental Europe. As such, since the 1970s "there has been a sense of crisis about what it has meant to be British", exacerbated by growing demands for greater political autonomy for Northern Ireland, Scotland, and Wales.
The late 20th century saw major changes to the politics of the United Kingdom with the establishment of devolved national administrations for Northern Ireland, Scotland, and Wales following pre-legislative referendums. Calls for greater autonomy for the four countries of the United Kingdom had existed since their original union with each other, but gathered pace in the 1960s and 1970s. Devolution has led to "increasingly assertive Scottish, Welsh and Irish national identities", resulting in more diverse cultural expressions of Britishness, or else its outright rejection: Gwynfor Evans, a Welsh nationalist politician active in the late 20th century, rebuffed Britishness as "a political synonym for Englishness which extends English culture over the Scots, Welsh and the Irish".
In 2004 Sir Bernard Crick, political theorist and democratic socialist tasked with developing the life in the United Kingdom test said:
Gordon Brown initiated a debate on British identity in 2006. Brown's speech to the Fabian Society's Britishness Conference proposed that British values demand a new constitutional settlement and symbols to represent a modern patriotism, including a new youth community service scheme and a British Day to celebrate. One of the central issues identified at the Fabian Society conference was how the English identity fits within the framework of a devolved United Kingdom. An expression of Her Majesty's Government's initiative to promote Britishness was the inaugural Veterans' Day which was first held on 27 June 2006. As well as celebrating the achievements of armed forces veterans, Brown's speech at the first event for the celebration said:
In 2018, the Windrush scandal illustrated complex developments in British peoplehood, when it was revealed hundreds of Britons had been wrongfully deported. With roots in the break-up of the empire, and post-war rebuilding; the Windrush generation had arrived as CUKC citizens in the 1950s and 1960s. Born in former British colonies, they settled in the UK before 1973, and were granted “right of abode” by the Immigration Act 1971. Having faced removal, or been deported, many British people of African Caribbean heritage suffered with loss of home, livelihood, and health. As a result of the political scandal, many institutions and elected politicians publicly affirmed that these individuals, while not legally holding British citizenship or nationality, were, in fact, British people. These included British Prime Minister Theresa May, London Mayor Sadiq Khan, Her Majesty's CPS Inspectorate Wendy Williams and her House of Commons-ordered Windrush Lessons Learned Review, the Chartered Institute of Housing, Amnesty International, University of Oxford's social geographer Danny Dorling, and other public figures.
Geographic distribution
The earliest migrations of Britons date from the 5th and 6th centuries AD, when Brittonic Celts fleeing the Anglo-Saxon invasions migrated what is today northern France and north western Spain and forged the colonies of Brittany and Britonia. Brittany remained independent of France until the early 16th century and still retains a distinct Brittonic culture and language, whilst Britonia in modern Galicia was absorbed into Spanish states by the end of the 9th century AD.
Britons – people with British citizenship or of British descent – have a significant presence in a number of countries other than the United Kingdom, and in particular in those with historic connections to the British Empire. After the Age of Discovery, the British were one of the earliest and largest communities to emigrate out of Europe, and the British Empire's expansion during the first half of the 19th century triggered an "extraordinary dispersion of the British people", resulting in particular concentrations "in Australasia and North America".
The British Empire was "built on waves of migration overseas by British people", who left the United Kingdom and "reached across the globe and permanently affected population structures in three continents". As a result of the British colonisation of the Americas, what became the United States was "easily the greatest single destination of emigrant British", but in Australia the British experienced a birth rate higher than "anything seen before", resulting in the displacement of indigenous Australians.
In colonies such as Southern Rhodesia, British East Africa and Cape Colony, permanently resident British communities were established and whilst never more than a numerical minority, these Britons "exercised a dominant influence" upon the culture and politics of those lands. In Australia, Canada and New Zealand, "people of British origin came to constitute the majority of the population" contributing to these states becoming integral to the Anglosphere.
The United Kingdom Census 1861 estimated the size of the overseas British to be around 2.5 million, but concluded that most of these were "not conventional settlers" but rather "travellers, merchants, professionals, and military personnel". By 1890, there were over 1.5 million further UK-born people living in Australia, Canada, New Zealand and South Africa. A 2006 publication from the Institute for Public Policy Research estimated 5.6 million Britons lived outside of the United Kingdom.
Outside of the United Kingdom and its Overseas Territories, the largest proportions of people of self-identified ethnic British descent in the world are found in New Zealand (59%), Australia (46%) and Canada (31%), followed by a considerably smaller minority in the United States (10.7%) and parts of the Caribbean. Hong Kong has the highest proportion of British citizens outside of the United Kingdom and its Overseas Territories, with 47% of Hong Kong residents holding a British National (Overseas) citizenship or a British citizenship.
Australia
From the beginning of Australia's colonial period until after the Second World War, people from the United Kingdom made up a large majority of people coming to Australia, meaning that many people born in Australia can trace their origins to Britain. The colony of New South Wales, founded on 26 January 1788, was part of the eastern half of Australia claimed by the Kingdom of Great Britain in 1770, and initially settled by Britons through penal transportation. Together with another five largely self-governing Crown Colonies, the federation of Australia was achieved on 1 January 1901.
Its history of British dominance meant that Australia was "grounded in British culture and political traditions that had been transported to the Australian colonies in the nineteenth century and become part of colonial culture and politics". Australia maintains the Westminster system of Parliamentary Government and Elizabeth II as Queen of Australia. Until 1987, the national status of Australian citizens was formally described as "British Subject: Citizen of Australia". Britons continue to make up a substantial proportion of immigrants.
By 1947, Australia was fundamentally British in origin with 7,524,129 or 99.3% of the population declaring themselves as European. In the most recent 2016 census, a large proportion of Australians self-identified with British ancestral origins, including 36.1% or 7,852,224 as English and 9.3% (2,023,474) as Scottish alone. A substantial proportion —33.5%— chose to identify as ‘Australian’, the census Bureau has stated that most of these are of Anglo-Celtic colonial stock.
All 6 states of Australia retain the Union Jack in the canton of their respective flags.
British Overseas Territories
The approximately 250,000 people of the British Overseas Territories are British by citizenship, via origins or naturalisation. Along with aspects of common British identity, each of them has their own distinct identity shaped in the respective particular circumstances of political, economic, ethnic, social and cultural history. For instance, in the case of the Falkland Islanders, Lewis Clifton the Speaker of the Legislative Council of the Falkland Islands, explains:
In contrast, for the majority of the Gibraltarians, who live in Gibraltar, there is an "insistence on their Britishness" which "carries excessive loyalty" to Britain. The sovereignty of Gibraltar has been a point of contention in Spain–United Kingdom relations, but an overwhelming number of Gibraltarians embrace Britishness with strong conviction, in direct opposition to Spanish territorial claims.
Canada
Canada traces its statehood to the French, English, and Scottish expeditions of North America from the late-15th century. France ceded nearly all of New France in 1763 after the Seven Years' War, and so after the United States Declaration of Independence in 1776, Quebec and Nova Scotia formed "the nucleus of the colonies that constituted Britain's remaining stake on the North American continent". British North America attracted the United Empire Loyalists, Britons who migrated out of what they considered the "rebellious" United States, increasing the size of British communities in what was to become Canada.
In 1867 there was a union of three colonies with British North America which together formed the Canadian Confederation, a federal dominion. This began an accretion of additional provinces and territories and a process of increasing autonomy from the United Kingdom, highlighted by the Statute of Westminster 1931 and culminating in the Canada Act 1982, which severed the vestiges of legal dependence on the parliament of the United Kingdom. Nevertheless, it is recognised that there is a "continuing importance of Canada's long and close relationship with Britain"; large parts of Canada's modern population claim "British origins" and the cultural impact of the British upon Canada's institutions is profound.
It was not until 1977 that the phrase "A Canadian citizen is a British subject" ceased to be used in Canadian passports. The politics of Canada are strongly influenced by British political culture. Although significant modifications have been made, Canada is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as The Queen of Canada and Head of State. English is the most commonly spoken language used in Canada and it is an official language of Canada.
British iconography remains present in the design of many Canadian flags, with 10 out of 13 Canadian provincial and territorial flags adopting some form of British symbolism in their design. The Union Jack is also an official ceremonial flag in Canada known as the Royal Union Flag which is flown outside of federal buildings three days of the year.
New Zealand
A long-term result of James Cook's voyage of 1768–1771, a significant number of New Zealanders are of British descent, for whom a sense of Britishness has contributed to their identity. As late as the 1950s, it was common for British New Zealanders to refer to themselves as British, such as when Prime Minister Keith Holyoake described Sir Edmund Hillary's successful ascent of Mount Everest as putting "the British race and New Zealand on top of the world". New Zealand passports described nationals as "British Subject: Citizen of New Zealand" until 1974, when this was changed to "New Zealand citizen".
In an interview with the New Zealand Listener in 2006, Don Brash, the then Leader of the Opposition, said:
The politics of New Zealand are strongly influenced by British political culture. Although significant modifications have been made, New Zealand is governed by a democratic parliamentary framework comparable to the Westminster system, and retains Elizabeth II as the head of the monarchy of New Zealand. English is the dominant official language used in New Zealand.
Hong Kong
British nationality law as it pertains to Hong Kong has been unusual ever since Hong Kong became a British colony in 1842. From its beginning as a sparsely populated trading port to its modern role as a cosmopolitan international financial centre of over seven million people, the territory has attracted refugees, immigrants and expatriates alike searching for a new life.
Citizenship matters were complicated by the fact that British nationality law treated those born in Hong Kong as British subjects (although they did not enjoy full rights and citizenship), while the People's Republic of China (PRC) did not recognise Hong Kong Chinese as such. The main reason for this was that recognising these people as British was seen as a tacit acceptance of a series of historical treaties that the PRC labelled as "unequal", including the ones which ceded Hong Kong Island, the Kowloon Peninsula and the New Territories to Britain. The British government, however, recognising the unique political situation of Hong Kong, granted 3.4 million Hong Kongers a new type of nationality known as British National (Overseas), which is established in accordance with the Hong Kong Act 1985. Among those 3.4 million people, there are many British Nationals (Overseas) who are eligible for full British citizenship. Both British Nationals (Overseas) and British citizens are British nationals and Commonwealth citizens according to the British Nationality Law, which enables them to various rights in the United Kingdom and the European Union.
United States
An English presence in North America began with the Roanoke Colony and Colony of Virginia in the late-16th century, but the first successful English settlement was established in 1607, on the James River at Jamestown. By the 1610s an estimated 1,300 English people had travelled to North America, the "first of many millions from the British Isles". In 1620, the Pilgrims established the English imperial venture of Plymouth Colony, beginning "a remarkable acceleration of permanent emigration from England" with over 60% of trans-Atlantic English migrants settling in the New England Colonies. During the 17th century, an estimated 350,000 English and Welsh migrants arrived in North America, which in the century after the Acts of Union 1707 was surpassed in rate and number by Scottish and Irish migrants.
The British policy of salutary neglect for its North American colonies intended to minimise trade restrictions as a way of ensuring they stayed loyal to British interests. This permitted the development of the American Dream, a cultural spirit distinct from that of its European founders. The Thirteen Colonies of British America began an armed rebellion against British rule in 1775 when they rejected the right of the Parliament of Great Britain to govern them without representation; they proclaimed their independence in 1776, and constituted the first thirteen states of the United States of America, which became a sovereign state in 1781 with the ratification of the Articles of Confederation. The 1783 Treaty of Paris represented Great Britain's formal acknowledgement of the United States' sovereignty at the end of the American Revolutionary War.
Nevertheless, longstanding cultural and historical ties have, in more modern times, resulted in the Special Relationship, the historically close political, diplomatic, and military co-operation between the United Kingdom and United States. Linda Colley, a professor of history at Princeton University and specialist in Britishness, suggested that because of their colonial influence on the United States, the British find Americans a "mysterious and paradoxical people, physically distant but culturally close, engagingly similar yet irritatingly different".
For over two centuries (1789-1989) of early U.S. history, all Presidents with the exception of two (Van Buren and Kennedy) were descended from the varied colonial British stock, from the Pilgrims and Puritans to the Scotch-Irish and English who settled the Appalachia.
The largest concentrations of self-reported British ethnic ancestry in the United States were found to be in Utah (35%), Maine (30%), New Hampshire (25%) and Vermont (25%) at the 2015 American Community Survey. Overall, 10.7% of Americans reported their ethnic ancestry as some form of "British" in the 2013–17 ACS, behind German and African ancestries and on par with Mexican and Irish ancestries.
Chile
Approximately 4% of Chile's population is of British or Irish descent. Over 50,000 British immigrants settled in Chile from 1840 to 1914. A significant number of them settled in Magallanes Province, especially in the city of Punta Arenas when it flourished as a major global seaport for ships crossing between the Atlantic and Pacific Oceans through the Strait of Magellan. Around 32,000 English settled in Valparaíso, influencing the port city to the extent of making it virtually a British colony during the last decades of the 19th century and the beginning of the 20th century. However, the opening of the Panama Canal in 1914 and the outbreak of the First World War drove many of them away from the city or back to Europe.
In Valparaíso, they created their largest and most important colony, bringing with them neighbourhoods of British character, schools, social clubs, sports clubs, business organisations and periodicals. Even today their influence is apparent in specific areas, such as the banks and the navy, as well as in certain social activities, such as football, horse racing, and the custom of drinking tea.
During the movement for independence (1818), it was mainly the British who formed the Chilean Navy, under the command of Lord Cochrane.
British investment helped Chile become prosperous and British seamen helped the Chilean navy become a strong force in the South Pacific. Chile won two wars, the first against the Peru-Bolivian Confederation and the second, the War of the Pacific, in 1878–79, against an alliance between Peru and Bolivia. The liberal-socialist "Revolution of 1891" introduced political reforms modelled on British parliamentary practice and lawmaking.
British immigrants were also important in the northern zone of the country during the saltpetre boom, in the ports of Iquique and Pisagua. The "King of Saltpetre", John Thomas North, was the principal tycoon of nitrate mining. The British legacy is reflected in the streets of the historic district of the city of Iquique, with the foundation of various institutions, such as the Club Hípico (Racing Club). Nevertheless, the British active presence came to an end with the saltpetre crisis during the 1930s.
Some Scots settled in the country's more temperate regions, where the climate and the forested landscape with glaciers and islands may have reminded them of their homeland (the Highlands and Northern Scotland) while English and Welsh made up the rest. The Irish immigrants, who were frequently confused with the British, arrived as merchants, tradesmen and sailors, settling along with the British in the main trading cities and ports.
An important contingent of British (principally Welsh) immigrants arrived between 1914 and 1950, settling in the present-day region of Magallanes. British families were established in other areas of the country, such as Santiago, Coquimbo, the Araucanía, and Chiloé.
The cultural legacy of the British in Chile is notable and has spread beyond the British Chilean community into society at large. Customs taken from the British include afternoon tea (called onces by Chileans), football, rugby union and horse racing. Another legacy is the widespread use of British personal names by Chileans.
Chile has the largest population of descendants of British settlers in Latin America. Over 700,000 Chileans may have British (English, Scottish and Welsh) origin, amounting to 4.5% of Chile's population.
South Africa
The British arrived in the area which would become the modern-day South Africa during the early 18th century, yet substantial settlement only started end of the 18th century, in the Cape of Good Hope; the British first explored the area for conquests for or related to the Slave Trade. In the late 19th century, the discovery of gold and diamonds further encouraged colonisation of South Africa by the British, and the population of the British-South Africans rose substantially, although there was fierce rivalry between the British and Afrikaners (descendants of Dutch colonists) in the period known as the Boer Wars. When apartheid first started most British-South Africans were mostly keen on keeping and even strengthening its ties with the United Kingdom. The latest census in South Africa showed that there are almost 2 million British-South Africans; they make up about 40% of the total White South African demographic, and the greatest white British ancestry populations in South Africa are in the KwaZulu-Natal province and in the cities of Cape Town, Durban and Port Elizabeth.
Ireland
Plantations of Ireland introduced large numbers of people from Great Britain to Ireland throughout the Middle Ages and early modern period. The resulting Protestant Ascendancy, the aristocratic class of the Lordship of Ireland, broadly identified themselves as Anglo-Irish. In the sixteenth and seventeenth centuries, Protestant British settlers subjugated Catholic, Gaelic inhabitants in the north of Ireland during the Plantation of Ulster and the Williamite War in Ireland; it was "an explicit attempt to control Ireland strategically by introducing ethnic and religious elements loyal to the British interest in Ireland".
The Ulster Scots people are an ethnic group of British origin in Ireland, broadly descended from Lowland Scots who settled in large numbers in the Province of Ulster during the planned process of colonisations of Ireland which took place in the reign of James VI of Scotland and I of England. Together with English and Welsh settlers, these Scots introduced Protestantism (particularly the Presbyterianism of the Church of Scotland) and the Ulster Scots and English languages to, mainly, northeastern Ireland. With the partition of Ireland and independence for what is now the Republic of Ireland some of these people found themselves no longer living within the United Kingdom.
Northern Ireland itself was, for many years, the site of a violent and bitter ethno-sectarian conflict—The Troubles—between those claiming to represent Irish nationalism, who are predominantly Roman Catholic, and those claiming to represent British unionism, who are predominantly Protestant. Unionists want Northern Ireland to remain part of the United Kingdom, while nationalists desire a united Ireland.
Since the signing of the Good Friday Agreement in 1998, most of the paramilitary groups involved in the Troubles have ceased their armed campaigns, and constitutionally, the people of Northern Ireland have been recognised as "all persons born in Northern Ireland and having, at the time of their birth, at least one parent who is a British citizen, an Irish citizen or is otherwise entitled to reside in Northern Ireland without any restriction on their period of residence". The Good Friday Agreement guarantees the "recognition of the birthright of all the people of Northern Ireland to identify themselves and be accepted as Irish or British, or both, as they may so choose".
Culture
Result from the expansion of the British Empire, British cultural influence can be observed in the language and culture of a geographically wide assortment of countries such as Canada, Australia, New Zealand, South Africa, India, Pakistan, the United States, and the British overseas territories. These states are sometimes collectively known as the Anglosphere. As well as the British influence on its empire, the empire also influenced British culture, particularly British cuisine. Innovations and movements within the wider-culture of Europe have also changed the United Kingdom; Humanism, Protestantism, and representative democracy have developed from broader Western culture.
As a result of the history of the formation of the United Kingdom, the cultures of England, Scotland, Wales, and Northern Ireland are diverse and have varying degrees of overlap and distinctiveness.
Cuisine
Historically, British cuisine has meant "unfussy dishes made with quality local ingredients, matched with simple sauces to accentuate flavour, rather than disguise it". It has been "vilified as unimaginative and heavy", and traditionally been limited in its international recognition to the full breakfast and the Christmas dinner. This is despite British cuisine having absorbed the culinary influences of those who have settled in Britain, resulting in hybrid dishes such as the British Asian Chicken tikka masala, hailed by some as "Britain's true national dish".
Celtic agriculture and animal breeding produced a wide variety of foodstuffs for Celts and Britons. The Anglo-Saxons developed meat and savoury herb stewing techniques before the practice became common in Europe. The Norman conquest of England introduced exotic spices into Britain in the Middle Ages. The British Empire facilitated a knowledge of India's food tradition of "strong, penetrating spices and herbs". Food rationing policies, imposed by the British government during wartime periods of the 20th century, are said to have been the stimulus for British cuisine's poor international reputation.
British dishes include fish and chips, the Sunday roast, and bangers and mash. British cuisine has several national and regional varieties, including English, Scottish and Welsh cuisine, each of which has developed its own regional or local dishes, many of which are geographically indicated foods such as Cheddar cheese, Cheshire cheese, the Yorkshire pudding, Arbroath Smokie, Cornish pasty and Welsh cakes.
The British are the second largest per capita tea consumers in the world, consuming an average of per person each year. British tea culture dates back to the 19th century, when India was part of the British Empire and British interests controlled tea production in the subcontinent.
Languages
There is no single British language, though English is by far the main language spoken by British citizens, being spoken monolingually by more than 70% of the UK population. English is therefore the de facto official language of the United Kingdom. However, under the European Charter for Regional or Minority Languages, the Welsh, Scottish Gaelic, Cornish, Irish Gaelic, Ulster Scots, Manx, Scots and Lowland Scots languages are officially recognised as Regional or Minority languages by the UK Government. Insular varieties of Norman are recognised languages of the Bailiwicks of Jersey and Guernsey, although they are dying. Standard French is an official language of both bailiwicks. As indigenous languages which continue to be spoken as a first language by native inhabitants, Welsh and Scottish Gaelic have a different legal status from other minority languages. In some parts of the UK, some of these languages are commonly spoken as a first language; in wider areas, their use in a bilingual context is sometimes supported or promoted by central or local government policy. For naturalisation purposes, a competence standard of English, Scottish Gaelic or Welsh is required to pass the life in the United Kingdom test. However, English is used routinely, and although considered culturally important, Scottish Gaelic and Welsh are much less used.
Throughout the United Kingdom there are distinctive spoken expressions and regional accents of English, which are seen to be symptomatic of a locality's culture and identity. An awareness and knowledge of accents in the United Kingdom can "place, within a few miles, the locality in which a man or woman has grown up".
Literature
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
Famous authors include some of the world's most studied and praised writers. William Shakespeare and Christopher Marlowe defined England's Elizabethan period. The British Romantic movement was one of the strongest and most recognisable in Europe. The poets William Blake, Wordsworth and Coleridge were amongst the pioneers of Romanticism in literature. Other Romantic writers that followed these figure further enhanced the profile of Romanticism in Europe, such as John Keats, Percy Bysshe Shelley and Lord Byron. Later periods like the Victorian Era saw a further flourishing of British writing, including Charles Dickens and William Thackeray.
Women's literature in Britain has had a long and often troubled history, with many female writers producing work under a pen name, such as George Eliot. Other great female novelists that have contributed to world literature are Frances Burney, Frances Hodgson Burnett, Virginia Woolf, Jane Austen and the Brontë sisters, Emily, Charlotte and Anne.
Non-fiction has also played an important role in the history of British letters, with the first dictionary of the English language being produced and compiled by Samuel Johnson, a graduate of Oxford University and a London resident.
Media and music
Although cinema, theatre, dance and live music are popular, the favourite pastime of the British is watching television. Public broadcast television in the United Kingdom began in 1936, with the launch of the BBC Television Service (now BBC One). In the United Kingdom and the Crown dependencies, one must have a television licence to legally receive any broadcast television service, from any source. This includes the commercial channels, cable and satellite transmissions, and the Internet. Revenue generated from the television licence is used to provide radio, television and Internet content for the British Broadcasting Corporation, and Welsh language television programmes for S4C. The BBC, the common abbreviation of the British Broadcasting Corporation, is the world's largest broadcaster. Unlike other broadcasters in the UK, it is a public service based, quasi-autonomous, statutory corporation run by the BBC Trust. Free-to-air terrestrial television channels available on a national basis are BBC One, BBC Two, ITV, Channel 4 (S4C in Wales), and Five.
100 Greatest British Television Programmes was a list compiled by the British Film Institute in 2000, chosen by a poll of industry professionals, to determine what were the greatest British television programmes of any genre ever to have been screened. Topping the list was Fawlty Towers, a British sitcom set in a fictional Torquay hotel starring John Cleese.
"British musical tradition is essentially vocal", dominated by the music of England and Germanic culture, most greatly influenced by hymns and Anglican church music. However, the specific, traditional music of Wales and music of Scotland is distinct, and of the Celtic musical tradition. In the United Kingdom, more people attend live music performances than football matches. British rock was born in the mid-20th century out of the influence of rock and roll and rhythm and blues from the United States. Major early exports were The Beatles, The Rolling Stones, The Who and The Kinks. Together with other bands from the United Kingdom, these constituted the British Invasion, a popularisation of British pop and rock music in the United States. Into the 1970s heavy metal, new wave, and 2 tone. Britpop is a subgenre of alternative rock that emerged from the British independent music scene of the early 1990s and was characterised by bands reviving British guitar pop music of the 1960s and 1970s. Leading exponents of Britpop were Blur, Oasis and Pulp. Also popularised in the United Kingdom during the 1990s were several domestically produced varieties of electronic dance music; acid house, UK hard house, jungle, UK garage which in turn have influenced grime and British hip hop in the 2000s. The BRIT Awards are the British Phonographic Industry's annual awards for both international and British popular music.
Religion
Historically, Christianity has been the most influential and important religion in Britain, and it remains the declared faith of the majority of the British people. The influence of Christianity on British culture has been "widespread, extending beyond the spheres of prayer and worship. Churches and cathedrals make a significant contribution to the architectural landscape of the nation's cities and towns" whilst "many schools and hospitals were founded by men and women who were strongly influenced by Christian motives". Throughout the United Kingdom, Easter and Christmas, the "two most important events in the Christian calendar", are recognised as public holidays.
Christianity remains the major religion of the population of the United Kingdom in the 21st century, followed by Islam, Hinduism, Sikhism and then Judaism in terms of numbers of adherents. The 2007 Tearfund Survey revealed 53% identified themselves as Christian, which was similar to the 2004 British Social Attitudes Survey, and to the United Kingdom Census 2001 in which 71.6% said that Christianity was their religion, However, the Tearfund Survey showed only one in ten Britons attend church weekly. Secularism was advanced in Britain during the Age of Enlightenment, and modern British organisations such as the British Humanist Association and the National Secular Society offer the opportunity for their members to "debate and explore the moral and philosophical issues in a non-religious setting".
The Treaty of Union that led to the formation of the Kingdom of Great Britain ensured that there would be a Protestant succession as well as a link between church and state that still remains. The Church of England (Anglican) is legally recognised as the established church, and so retains representation in the Parliament of the United Kingdom through the Lords Spiritual, whilst the British monarch is a member of the church as well as its Supreme Governor. The Church of England also retains the right to draft legislative measures (related to religious administration) through the General Synod that can then be passed into law by Parliament. The Roman Catholic Church in England and Wales is the second largest Christian church with around five million members, mainly in England. There are also growing Orthodox, Evangelical and Pentecostal churches, with Pentecostal churches in England now third after the Church of England and the Roman Catholic Church in terms of church attendance. Other large Christian groups include Methodists and Baptists.
The Presbyterian Church of Scotland (known informally as The Kirk), is recognised as the national church of Scotland and not subject to state control. The British monarch is an ordinary member and is required to swear an oath to "defend the security" of the church upon his or her accession. The Roman Catholic Church in Scotland is Scotland's second largest Christian church, with followers representing a sixth of the population of Scotland. The Scottish Episcopal Church, which is part of the Anglican Communion, dates from the final establishment of Presbyterianism in Scotland in 1690, when it split from the Church of Scotland over matters of theology and ritual. Further splits in the Church of Scotland, especially in the 19th century, led to the creation of other Presbyterian churches in Scotland, including the Free Church of Scotland. In the 1920s, the Church in Wales became independent from the Church of England and became 'disestablished' but remains in the Anglican Communion. Methodism and other Protestant churches have had a major presence in Wales. The main religious groups in Northern Ireland are organised on an all-Ireland basis. Though collectively Protestants constitute the overall majority, the Roman Catholic Church of Ireland is the largest single church. The Presbyterian Church in Ireland, closely linked to the Church of Scotland in terms of theology and history, is the second largest church followed by the Church of Ireland (Anglican) which was disestablished in the 19th century.
Sport
Sport is an important element of British culture, and is one of the most popular leisure activities of Britons. Within the United Kingdom, nearly half of all adults partake in one or more sporting activity each week. Some of the major sports in the United Kingdom "were invented by the British", including football, rugby union, rugby league and cricket, and "exported various other games" including tennis, badminton, boxing, golf, snooker and squash.
In most sports, separate organisations, teams and clubs represent the individual countries of the United Kingdom at international level, though in some sports, like rugby union, an all-Ireland team represents both Northern Ireland and Ireland (Republic of), and the British and Irish Lions represent Ireland and Britain as a whole. The UK is represented by a single team at the Olympic Games and at the 2012 Summer Olympics, the Great Britain team won 65 medals: 29 gold (the most since the 1908 Summer Olympics), 17 silver and 19 bronze, ranking them 3rd. In total, sportsmen and women from the UK "hold over 50 world titles in a variety of sports, such as professional boxing, rowing, snooker, squash and motorcycle sports".
A 2006 poll found that association football was the most popular sport in the UK. In England 320 football clubs are affiliated to The Football Association (FA) and more than 42,000 clubs to regional or district associations. The FA, founded in 1863, and the Football League, founded in 1888, were both the first of their kind in the world. In Scotland there are 78 full and associate clubs and nearly 6,000 registered clubs under the jurisdiction of the Scottish Football Association. Two Welsh clubs play in England's Football League and others at non-league level, whilst the Welsh Football League contains 20 semi-professional clubs. In Northern Ireland, 12 semi-professional clubs play in the IFA Premiership, the second oldest league in the world.
Recreational fishing, particularly angling, is one of the most popular participation activities in the United Kingdom, with an estimated 3–4 million anglers in the country. The most widely practised form of angling in England and Wales is for coarse fish while in Scotland angling is usually for salmon and trout.
Visual art and architecture
For centuries, artists and architects in Britain were overwhelmingly influenced by Western art history. Amongst the first visual artists credited for developing a distinctly British aesthetic and artistic style is William Hogarth. The experience of military, political and economic power from the rise of the British Empire, led to a very specific drive in artistic technique, taste and sensibility in the United Kingdom. Britons used their art "to illustrate their knowledge and command of the natural world", whilst the permanent settlers in British North America, Australasia, and South Africa "embarked upon a search for distinctive artistic expression appropriate to their sense of national identity". The empire has been "at the centre, rather than in the margins, of the history of British art", and imperial British visual arts have been fundamental to the construction, celebration and expression of Britishness.
British attitudes to modern art were "polarised" at the end of the 19th century. Modernist movements were both cherished and vilified by artists and critics; Impressionism was initially regarded by "many conservative critics" as a "subversive foreign influence", but became "fully assimilated" into British art during the early-20th century. Representational art was described by Herbert Read during the interwar period as "necessarily... revolutionary", and was studied and produced to such an extent that by the 1950s, Classicism was effectively void in British visual art. Post-modern, contemporary British art, particularly that of the Young British Artists, has been pre-occupied with postcolonialism, and "characterised by a fundamental concern with material culture ... perceived as a post-imperial cultural anxiety".
Architecture of the United Kingdom is diverse; most influential developments have usually taken place in England, but Ireland, Scotland, and Wales have at various times played leading roles in architectural history. Although there are prehistoric and classical structures in the British Isles, British architecture effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities. Secular medieval architecture throughout Britain has left a legacy of large stone castles, with the "finest examples" being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitiated the development of new artistic styles for domestic architecture: Tudor style, English Baroque, The Queen Anne Style and Palladian. Georgian and Neoclassical architecture advanced after the Scottish Enlightenment. Outside the United Kingdom, the influence of British architecture is particularly strong in South India, the result of British rule in India in the 19th century. The Indian cities of Bangalore, Chennai, and Mumbai each have courts, hotels and train stations designed in British architectural styles of Gothic Revivalism and neoclassicism.
Political culture
British political culture is tied closely with its institutions and civics, and a "subtle fusion of new and old values". The principle of constitutional monarchy, with its notions of stable parliamentary government and political liberalism, "have come to dominate British culture". These views have been reinforced by Sir Bernard Crick who said:
British political institutions include the Westminster system, the Commonwealth of Nations and Privy Council of the United Kingdom. Although the Privy Council is primarily a British institution, officials from other Commonwealth realms are also appointed to the body. The most notable continuing instance is the Prime Minister of New Zealand, its senior politicians, Chief Justice and Court of Appeal judges are conventionally made Privy Counsellors, as the prime ministers and chief justices of Canada and Australia used to be. Prime Ministers of Commonwealth countries which retain the British monarch as their sovereign continue to be sworn as Privy Counsellors.
Universal suffrage for all males over 21 was granted in 1918 and for adult women in 1928 after the Suffragette movement. Politics in the United Kingdom is multi-party, with three dominant political parties: the Conservative Party, the Labour Party and the Scottish National Party. The social structure of Britain, specifically social class, has "long been pre-eminent among the factors used to explain party allegiance", and still persists as "the dominant basis" of party political allegiance for Britons. The Conservative Party is descended from the historic Tory Party (founded in England in 1678), and is a centre-right conservative political party, which traditionally draws support from the middle classes. The Labour Party (founded by Scotsman Keir Hardie) grew out of the trade union movement and socialist political parties of the 19th century, and continues to describe itself as a "democratic socialist party". Labour states that it stands for the representation of the low-paid working class, who have traditionally been its members and voters. The Scottish National Party is the third largest political party in the UK in terms of both party membership and representation in parliament, having won 56 out of 59 Scottish seats at the 2015 General Election. The Liberal Democrats are a liberal political party, and fourth largest in England in terms of membership and MPs elected. It is descended from the Liberal Party, a major ruling party of 19th-century UK through to the First World War, when it was supplanted by the Labour Party. The Liberal Democrats have historically drawn support from wide and "differing social backgrounds". There are over 300 other, smaller political parties in the United Kingdom registered to the Electoral Commission.
Classification
According to the British Social Attitudes Survey, there are broadly two interpretations of British identity, with ethnic and civic dimensions:
Of the two perspectives of British identity, the civic definition has become "the dominant idea ... by far", and in this capacity, Britishness is sometimes considered an institutional or overarching state identity. This has been used to explain why first-, second- and third-generation immigrants are more likely to describe themselves as British, rather than English, because it is an "institutional, inclusive" identity, that can be acquired through naturalisation and British nationality law; the vast majority of people in the United Kingdom who are from an ethnic minority feel British.
However, this attitude is more common in England than in Scotland or Wales; "white English people perceived themselves as English first and as British second, and most people from ethnic minority backgrounds perceived themselves as British, but none identified as English, a label they associated exclusively with white people". Contrawise, in Scotland and Wales, White British and ethnic minority people both identified more strongly with Scotland and Wales than with Britain.
Studies and surveys have "reported that the majority of the Scots and Welsh see themselves as both Scottish/Welsh and British though with some differences in emphasis". The Commission for Racial Equality found that with respect to notions of nationality in Britain, "the most basic, objective and uncontroversial conception of the British people is one that includes the English, the Scots and the Welsh". However, "English participants tended to think of themselves as indistinguishably English or British, while both Scottish and Welsh participants identified themselves much more readily as Scottish or Welsh than as British".
Some persons opted "to combine both identities" as "they felt Scottish or Welsh, but held a British passport and were therefore British", whereas others saw themselves as exclusively Scottish or exclusively Welsh and "felt quite divorced from the British, whom they saw as the English". Commentators have described this latter phenomenon as "nationalism", a rejection of British identity because some Scots and Welsh interpret it as "cultural imperialism imposed" upon the United Kingdom by "English ruling elites", or else a response to a historical misappropriation of equating the word "English" with "British", which has "brought about a desire among Scots, Welsh and Irish to learn more about their heritage and distinguish themselves from the broader British identity".
See also
Anti-British sentiment
Lists of British people
100 Greatest Britons
References
Citations
Sources
Further reading
External links
British society
Ethnic groups in the United Kingdom | true | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"Port Discovery, Washington is the historical name of what is now called Discovery Bay, a bay in the U.S. state of Washington on the south side of the Strait of Juan de Fuca, on Washington's Olympic Peninsula. It was also called Port Discovery Bay for some time, a name that can be found on maps from the 1940s and earlier. Port Discovery is also the name of a historically significant community that was located on the bay for roughly a hundred years; it disappeared in the late 20th century, with the collapse of the local timber industry.\n\nThe bay\nThe bay was first visited by Europeans in 1790, during the expedition of Manuel Quimper in the Princesa Real, with Juan Carrasco as pilot. They gave it the name Puerto de Quadra, after Juan Francisco de la Bodega y Quadra, their commander at San Blas. In 1791 Francisco de Eliza used Port Discovery as his base of operations for further explorations.\n\nThe name Port Discovery was given by George Vancouver in his 1792 visit to the Strait of Juan de Fuca, and honors his ship the Discovery. Vancouver's landing place was apparently at what was later called Carr Point (also Contractors Point).\n\nPort Discovery was a regular port of call for ships traversing the Pacific until the mid 20th century, and in particular for many U.S. ships involved in World War II, such as , , and . The wreck of War Hawk, a clipper ship which burned and sank in 1883, is a popular dive site in the bay, near Mill Point.\n\nThe community\nIn the 19th century, Port Discovery became an important coastal community, centered on a large sawmill that was established in 1858. The settlement called Port Discovery was located at what now is called Mill Point, on the west shore of the bay, to the east of U.S. Highway 101 at what is now Broders Road. This spot is several miles north of the current settlements at the foot of Discovery Bay.\n\nThe town at Mill Point dwindled after the closing of the sawmill, and vanished after the later collapse of the local timber industry. Only a couple of houses and an old pier remain at the site, which is private property.\n\nUntil around 2008, the prominent remains of another famous sawmill were visible farther down the shore from Mill Point, near what was Maynard, Washington, at the foot of the bay. The romantic, derelict building was adjacent to Highway 101, and was thus seen by every passing motorist; it was one of the most-photographed sites in the area for decades. Many such photos are mislabeled as the Port Discovery mill, although the Maynard mill was built later. By 2010, the building's vestiges were removed, in efforts to restore Discovery Bay salmon and shellfish habitat.\n\nReferences \n\nBays of Washington (state)\nBays of Jefferson County, Washington\nHistory of Washington (state)"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)"
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | Did he win any awards for High Noon? | 1 | Did Dimitri Tiomkin win any awards for High Noon? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"Brent Noon (born August 29, 1971) is an inactive American Track and Field athlete, known primarily for throwing the Shot Put.\n\nWhile competing for Fallbrook Union High School, Noon recorded the second-best all-time outdoor mark in the shot put, the closest approach to Michael Carter's NFHS record. As a senior in 1990, Noon set the California High School record with a throw of 76'2\" After taking a year off, he continued on to the University of Georgia where he won three straight NCAA Men's Outdoor Track and Field Championships. The University elected Noon to its \"Circle of Honor\" in 2009 \n\nNoon won the 1995 USA Outdoor Track and Field Championships allowing Noon to compete for the United States at the 1995 World Championships in Athletics, where he finished 5th behind American teammates John Godina and Randy Barnes. \n\nIn 1992, Noon failed to show up at a USATF mandated drug test. For the offense of missing the test, he was suspended from competition for a 5-week period just before the Olympic Trials. Noon claimed the instructions were sent to his California address, even though he had moved to Georgia. While the suspension was reversed, Noon finished 9th at the trials and failed to make the Olympic team. He blamed mental anguish. In 1994, Noon won a $1 Million lawsuit against USATF. He also settled a civil defamation suit against UCLA and then assistant coach Art Venegas, who he claimed had spread rumors of Noon's steroid abuse prior to his high school performances. It was claimed the year off was related to an attempt to evade drug testing.\n\nIn 1996 another drug test revealed methandieone in Noon's sample and in 1997 he was banned from competition for four years, backdated to the 1996 test date.\n\nIn 1998 the state Supreme Court has denied Brent Noon's final attempt to win his five-year legal battle with USA Track & Field.\n\nThe Supreme Court denied Noon's petition for review of an appellate court decision in March that reversed a 1994 jury verdict in Noon's favor. That jury had awarded damages to Noon, based on USA Track and Field's two-year suspension of Noon for allegedly testing positive for a banned steroid.\n\nThe 4th District Court of Appeal reversed the 1994 jury verdict—which had awarded Noon $983,000 in compensatory damages -- \"because we conclude no substantial evidence supports the jury's verdict on any cause of action.\"\n\nNoon is married to Ali Noon (McKnight), 1995 NCAA Heptathlon runner-up, member of 1999/2000 U.S. Women's Bobsled team, IFBB Figure Pro, and University of Nevada (Reno) Hall of Fame Inductee (2006). They have two daughters.\n\nReferences\n\nExternal links\n\n Brent Noon in 1990\n Track and Field News blog\n California State Records before 2000\n\n1971 births\nLiving people\nAmerican male shot putters\nAmerican sportspeople in doping cases\nDoping cases in athletics\nGeorgia Bulldogs track and field athletes\nPeople from Fallbrook, California\nSportspeople from San Diego County, California\nTrack and field athletes from California\nWorld Athletics Championships athletes for the United States",
"The 6th Bodil Awards was held in 1953 in Copenhagen, Denmark, honouring the best in Danish and foreign film of 1952.\n\nErik Balling received his first Bodil Award for Best Danish Film for his début film Adam and Eve.\n\nForeign films were represented with Alf Sjöberg's Only a Mother winning the Bodil Award for Best European Film, and Fred Zinnemann's High Noon winning the award for Best American Film.\n\nWinners\n\nBest Danish Film \n Adam and Eve directed by Erik Balling\n\nBest Actor in a Leading Role \n Per Buckhøj in Adam and Eve\n\nBest Actress in a Leading Role \n Not awarded\n\nBest Actor in a Supporting Role \n Not awarded\n\nBest Actress in a Supporting Role \n Not awarded\n\nBest European Film \n Only a Mother directed by Alf Sjöberg\n\nBest American Film \n High Noon directed by Fred Zinnemann\n\nRecipients\n\nHonorary Award \n Cinematographer Kjeld Arnholtz for shooting (1953)\n\nNotes\n\nReferences\n\nExternal links \n 6th Bodil Awards at the official Bodil Awards website\n\n1952 film awards\n1953 in Denmark\nBodil Awards ceremonies\n1950s in Copenhagen"
]
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[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song."
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | who directed the film? | 2 | who directed the film High Noon? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | Fred Zinnemann | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"The Man Who Dared can refer to:\n\nThe Man Who Dared (1920 film), an American drama film directed by Emmett J. Flynn\nThe Man Who Dared (1933 film), an American drama film directed by Hamilton MacFadden\nThe Man Who Dared (1939 film), an American crime film directed by Crane Wilbur\nThe Man Who Dared (1946 film), an American crime film directed by John Sturges",
"The Woman Who Dared may refer to:\n\nThe Woman Who Dared (1916 film), American film directed by George E. Middleton\n The Woman Who Dared (1944 film), French film directed by Jean Grémillon\n The Woman Who Dared (1933 film), American film directed by Millard Webb"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song.",
"who directed the film?",
"Fred Zinnemann"
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | what was the name of the song he won the Best Song award for? | 3 | what was the name of the song Dimitri Tiomkin won the Best Song award for? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"Ben Fielding is an Australian contemporary Christian music and worship songwriter, and one of several worship leaders in Hillsong Worship group. He has written many songs for the group, winning three Dove Awards and one Grammy Award.\n\nFielding and Reuben Morgan wrote the song \"Mighty to Save\". It won the Worship Song of the Year at the 40th GMA Dove Awards (it was also nominated in the Song of the Year category).\n\n\"What a Beautiful Name\", a song he co-wrote with Brooke Ligertwood, won the 2018 Grammy award for Best Contemporary Christian Music Performance/Song, and won the Song of the Year award at the 2017 Dove Awards.\n\n\"Who You Say I Am\", written with Morgan, won the 2019 Dove Award for Worship Song of the Year.\n\nReferences \n\nLiving people\nHillsong musicians\nGrammy Award winners\nYear of birth missing (living people)",
"American singer and songwriter Bruno Mars has received various awards and nominations throughout his career. He signed a record deal with Atlantic Records in 2009, and came to prominence as a composer for other artists along with his production team the Smeezingtons. They were responsible for Mars's first collaboration with B.o.B, the single \"Nothin' on You\", which won Song of the Year at the 2010 Soul Train Music Awards, while at the 53rd Annual Grammy Awards it was nominated in three categories, including Record of the Year. Mars's debut solo single, \"Just the Way You Are\", won Best Male Pop Vocal Performance at the same ceremony. His debut studio album, Doo-Wops & Hooligans (2010) was nominated for Album of the Year at the 54th Annual Grammy Awards, while \"Grenade\" was nominated for Record of the Year and Song of the Year. He won awards for Best Male Artist at several award ceremonies in 2011 and 2012, including American Music Award for Favorite Pop/Rock Male Artist, Brit Award for International Male Solo Artist and the Echo Award for Best International Male.\n\nMars's second studio album, Unorthodox Jukebox (2012) earned the singer four nominations at the 56th Annual Grammy Awards, with two of its singles, \"Locked Out of Heaven\", and \"When I Was Your Man\", being nominated for Record of the Year and Best Pop Solo Performance, respectively. The album won Best Pop Vocal Album at the ceremony and was also recognized with a Juno Award. In addition, Mars won two consecutive International Artist of the Year at the 2013 and 2014 NRJ Music Awards. In 2014, he won an International Male Solo Artist at the 2014 BRIT Awards and collaborated on Mark Ronson's single \"Uptown Funk\". The song won the Brit Award for Single of the Year, Song of the Year at the Soul Train Music Awards, International Work of the Year at the APRA Music Awards and two Grammy awardsRecord of the Year and Best Pop Duo/Group Performance.\n\nIn 2016, Mars received a Hollywood Walk of Fame star in the category of recording and became the recipient for NRJ Artist of Honor. In 2017, he earned an Innovator Award at the iHeartRadio Music Awards and for his work on Adele's third studio album, 25 (2015), he received a Grammy Award for Album of the Year at the 59th ceremony. Mars third studio album, 24K Magic (2016), earned him seven awards at the 2017 American Music Awards, including Artist of the Year, two for his single \"That's What I Like\" and other two for his album 24K Magic. He also won Album/Mixtape of the Year at the 2017 Soul Train Music Awards, in addition to winning four other awards. In 2018, the album won Grammy Awards for Album of the Year and Best R&B Album, the single \"24K Magic\" received Record of the Year, while \"That's What I Like\" earned Song of the Year, Best R&B Performance and Best R&B Song. In 2021, Mars released a collaborative album with Anderson .Paak, as Silk Sonic, titled An Evening with Silk Sonic. Its single, \"Leave the Door Open\" won Song of the Year at the 2021 Soul Train Music Awards, while the duo won Best Group at the BET Awards 2021 and International Group of the Year at the 2022 Brit Awards.\n\nAwards and nominations\n\nOther accolades\n\nGuinness World Records\n\nListicles\n\nNotes\n\nReferences\n\nLists of awards received by American musicians\nAwards"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song.",
"who directed the film?",
"Fred Zinnemann",
"what was the name of the song he won the Best Song award for?",
"\"Do Not Forsake Me, Oh My Darlin'\" (\"The Ballad of High Noon\")."
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | did he work with that director again? | 4 | did Dimitri Tiomkin work with Fred Zinnemann again? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | The composer worked again for Zinnemann on The Sundowners (1960). | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"Henry Levin (5 June 1909 – 1 May 1980) began as a stage actor and director but was most notable as an American film director of over fifty feature films. His best known credits were Jolson Sings Again (1949), Journey to the Center of the Earth (1959) and Where the Boys Are (1960).\n\nBiography\n\nActing\nLevin began as an actor. He was on Broadway in Somewhere in France (1941) and appeared in summer stock in Cuckoos on the Hearth (1941). He worked for Brock Pemberton stage productions.\n\nColumbia Pictures\n\nDialogue Director\nIn May 1943 Levin signed a contract to work at Columbia Pictures. He was one of three stage director recruited by the studio – the others were William Castle and Leslie Urbach. Levin's job was to work with the younger Columbia actors.\n\nIn April Levin was hired to work as dialogue director on The Clock Struck Twelve (later titled Passport to Suez) with Warren William, one of the Lone Wolf films. He later went on to be dialogue director on Dangerous Blondes (1943), Appointment in Berlin (1943) and Two Man Submarine (1944).\n\nLevin then was contracted to Columbia Pictures as a director along with several other \"potentials\" who began as dialogue directors: Fred Sears, William Castle, Mel Ferrer and Robert Gordon.\n\nDirector\nHis first film as director was Cry of the Werewolf (1944) with Nina Foch. He followed it with Sergeant Mike (1944) with Larry Parks, Dancing in Manhattan (1944), a documentary The Negro Sailor (1945) and I Love a Mystery (1945), based on the radio show.\n\nLevin directed a swashbuckler The Fighting Guardsman (1945) and was called in to do some work on The Bandit of Sherwood Forest (1946), a Robin Hood movie that was hugely popular.\n\nHe directed Night Editor (1946), another based on a radio show, and two sequels to I Love a Mystery, The Devil's Mask (1946) and The Unknown (1946). Levin did another swashbuckler, The Return of Monte Cristo (1946).\n\nCharles Vidor\nLevin's next credit was the drama The Guilt of Janet Ames (1947), replacing Charles Vidor during filming.\n\nBy now he was one of Columbia's leading directors, making The Corpse Came C.O.D. (1948), The Gallant Blade (1948) with Larry Parks, The Mating of Millie (1948) with Glenn Ford, and The Man from Colorado (1949) with Ford and William Holden; on Colorado he replaced Vidor again during filming.\n\nLevin helped direct Mr. Soft Touch (1949) with Ford, and had the biggest hit of his career with Jolson Sings Again (1949) starring Parks. He made a romantic comedy And Baby Makes Three (1949) then replaced Vidor another time on a musical with Joan Caulfield, The Petty Girl (1950).\n\nLevin was reunited with Ford for Convicted (1950), and The Flying Missile (1950). He did some film noirs, Two of a Kind (1951) and The Family Secret (1951).\n\n20th Century Fox\nIn April 1951 Levin signed an exclusive contract with 20th Century Fox. His first film for them was meant to be Mabel and Me Instead he did Belles on Their Toes (1952); The President's Lady (1952) a biopic of Andrew Jackson with Charlton Heston; The Farmer Takes a Wife (1953) with Betty Grable; Mister Scoutmaster (1953) with Clifton Webb; Three Young Texans (1954), a Western with Jeffrey Hunter; and The Gambler from Natchez (1954) a Western with Dale Robertson.\n\nHe did some uncredited work on Way of a Gaucho (1952).\n\nLevin went to England to make The Dark Avenger (1954) with Errol Flynn, a co production between Fox and Allied Artists.\n\nIn 1956 he was announced for Love Story with Barbara Stanwyck and producer Paul Goldstein but the film was not made. For Allied he made Let's Be Happy (1957).\n\nPat Boone\nBack at Fox Levin directed Pat Boone's first film, Bernardine (1957).\n\nAt Paramount he did a Western with Jack Palance, The Lonely Man (1957), then Fox called him back to do Boone's second film, April Love (1957).\n\nHe went to England to do a film for Fox, A Nice Little Bank That Should Be Robbed (1958), then back in Hollywood did two with Clifton Webb, The Remarkable Mr. Pennypacker (1959) and Holiday for Lovers (1959).\n\nWebb was also meant to be in Levin's Journey to the Center of the Earth (1959) but fell ill and was replaced by James Mason; Pat Boone co-starred and the film was a huge hit.\n\nMGM\nLevin went to MGM where he did Where the Boys Are (1960), an ensemble romantic comedy for producer Joe Pasternak. It was a hit and MGM signed him to a four-year contract to make one film a year.\n\nFor the same studio he did The Wonders of Aladdin (1961) and The Wonderful World of the Brothers Grimm (1962), the latter an expensive costume picture which he did for George Pal in Cinerama; Pal did the fairy tale sequences and Levin did the Grimm brother scenes.\n\nAt Universal, Levin made If a Man Answers (1962) with Sandra Dee and Bobby Darin.\n\nBack at MGM he did the last two pictures on his contract, Come Fly with Me (1963), a Where the Boys Are style comedy about air stewardesses, and Honeymoon Hotel (1964). While making the latter he said he was living in Rome.\n\nIrving Allen\nLevin returned to Columbia for Genghis Khan (1965), produced by Irving Allen. Columbia also released Kiss the Girls and Make Them Die (1965) which Levin directed for Dino de Laurentis.\n\nLevin was going to do a film about the Danish resistance for Allen, The Savage Canary from a script by John Paxton but it was not made.\n\nInstead Levin did two Matt Helm films with Dean Martin for Allen, Murderers' Row (1966) and The Ambushers (1967). During the making of the latter, a newspaper profile was published which claimed Levin's marriage was in trouble.\n\nHe made a Western, The Desperados (1969).\n\nLater years\nLevin's later credits included That Man Bolt (1973), Run for the Roses (1977), and The Treasure Seekers (1979).\n\nAt the end of his career, he finally did some television work, directing some episodes of Knots Landing in 1979 and his last work, the television movie Scout's Honor where he died on the last day of production.\n\nDespite having been a stage actor, his only screen acting credit was in an episode of the 1974 television series Planet of the Apes.\n\nFilmography as director \n\nScout's Honor (1980 TV movie)\nThe Treasure Seekers (1979)\nRun for the Roses (1977)\nThat Man Bolt (1973)\nThe Desperados (1969)\nThe Ambushers (1967)\nKiss the Girls and Make Them Die (1966)\nMurderers' Row (1966)\nSe Tutte le Donne del Mondo (1966)\nGenghis Khan (1965)\nHoneymoon Hotel (1964)\nCome Fly with Me (1963)\nIf a Man Answers (1962)\nThe Wonderful World of the Brothers Grimm (1962)\nLe Meraviglie di Aladino (1961)\nWhere the Boys Are (1960)\nJourney to the Center of the Earth (1959)\nHoliday for Lovers (1959)\nThe Remarkable Mr. Pennypacker (1959)\nA Nice Little Bank That Should Be Robbed (1958)\nApril Love (1957)\nThe Lonely Man (1957)\nBernardine (1957)\nLet's Be Happy (1957)\nThe Dark Avenger (1955)\nThe Gambler from Natchez (1954)\nThree Young Texans (1954)\nMister Scoutmaster (1953)\nThe Farmer Takes a Wife (1953)\nThe President's Lady (1953)\nBelles on Their Toes (1952)\nThe Family Secret (1951)\nTwo of a Kind (1951)\nThe Flying Missile (1950)\nConvicted (1950)\nThe Petty Girl (1950)\nAnd Baby Makes Three (1949)\nJolson Sings Again (1949)\nMr. Soft Touch (1949)\nThe Man from Colorado (1948)\nThe Gallant Blade (1948)\nThe Mating of Millie (1948)\nThe Corpse Came C.O.D. (1947)\nThe Guilt of Janet Ames (1947)\nThe Return of Monte Cristo (1946)\nThe Unknown (1946)\nThe Devil's Mask (1946)\nNight Editor (1946)\nThe Bandit of Sherwood Forest (1946)\nThe Fighting Guardsman (1946)\nDancing in Manhattan (1945)\nI Love a Mystery (1945)\nThe Negro Sailor (1945)\nSergeant Mike (1944)\nCry of the Werewolf (1944)\n\nReferences\n\nExternal links\n\nHenry Levin at TCMDB\n\n1909 births\n1980 deaths\nAmerican film directors\nAmerican male stage actors\nAmerican television directors\nAmerican theatre directors\nFilm directors from New Jersey\nMale actors from New Jersey",
"George E. Marshall (December 29, 1891 – February 17, 1975) was an American actor, screenwriter, producer, film and television director, active through the first six decades of film history.\n\nRelatively few of Marshall's films are well-known today, with Destry Rides Again, The Blue Dahlia, The Ghost Breakers, The Sheepman, and How the West Was Won being the biggest exceptions. John Houseman called him \"one of the old maestros of Hollywood... he had never become one of the giants but he held a solid and honorable position in the industry.\"\n\nWhile Marshall worked in many different genres, he started his career in the early silent period doing mostly Westerns, a genre he never completely abandoned.\n\nIn the 1930s, he established a reputation for comedy, directing Laurel and Hardy in three classic films, and also working on a variety of comedies for Fox, though many of his films at Fox were destroyed in a vault fire in 1937. Later in his career he was particularly sought after for comedies. He did around half a dozen films each with Bob Hope and Jerry Lewis, and also worked with W. C. Fields, Jackie Gleason, and Will Rogers.\n\nBiography\n\nEarly life\nMarshall dropped out of the University of Chicago and worked a journalist and a mechanic. He was working as a logger in Washington when he decided to go to Los Angeles in 1912 to visit his mother.\n\nMarshall decided to stay in Hollywood and work in the movies. He initially worked as an extra. He and another extra, future director Frank Lloyd, once pooled their money to buy a suit and get more work. Marshall eventually moved into stunt work, then directing.\n\nHarry Carey and Neal Hart\nMarshall's early directorial work most starred Harry Carey and Neal Hart. He said his first film was the Carey three reeler The Committee on Credentials (1916). He also directed Love's Lariat (1916) and A Woman's Eyes (1917), all with Carey, and The Man from Montana (1917) with Hart.\n\nMarshall served in France in World War I.\n\nHe worked with other actors too, such as Hoot Gibson in The Midnight Flyer (1918) and Ruth Roland in the serials The Adventures of Ruth (1919) and Ruth of the Rockies (1920).\n\nTom Mix\nIn the early 1920s Marshall directed a series of movies starring Tom Mix including Prairie Trails (1920).\n\nFor most of the 1920s Marshall directed short films, notably at Fox. In the mid 1920s he was appointed general supervisor of Fox comedy shorts. His credits included A Flaming Affair with Lex Neal.\n\nLaurel and Hardy\nMarshall directed a series of Laurel and Hardy films including Pack Up Your Troubles (1932), Their First Mistake (1932), and Towed in a Hole (1932). He also played a menacing, vengeful chef in Pack Up Your Troubles, and made a brief appearance in Their First Mistake.\n\nFox Films\nMarshall took a long-term contract at Fox where his films included Wild Gold (1934) and two with Alice Faye, She Learned About Sailors (1934) and 365 Nights in Hollywood (1934).\n\nFox entrusted him with one of the studio's biggest stars, Will Rogers in Life Begins at 40 (1935). He did a comedy, $10 Raise (1935), and a musical with Faye, Music Is Magic (1935).\n\nMarshall stayed with Fox when it merged with 20th Century to become 20th Century-Fox. He did a crime film, Show Them No Mercy! (1935), a Jane Withers vehicle Can This Be Dixie? (1936), and a war film with Barbara Stanwyck and Wallace Beery, A Message to Garcia (1936).\n\nAfter another crime film, The Crime of Dr. Forbes (1936) he did Nancy Steele Is Missing! (1937) with Victor McLaglen, Love Under Fire (1937) with Loretta Young and Battle of Broadway (1938) with McLaglen.\n\nUniversal\nSam Goldwyn borrowed Marshall to direct The Goldwyn Follies (1938).\n\nMarshall went to Universal where he directed W. C. Fields in You Can't Cheat an Honest Man (1939). Then he had a huge success with Marlene Dietrich and James Stewart in Destry Rides Again (1939). He did another Western at Universal, When the Daltons Rode (1940).\n\nMarshall went to Paramount, where he directed Bob Hope and Paulette Goddard in a successful horror-comedy The Ghost Breakers (1940).\n\nMarshall, Goddard and Stewart made Pot o' Gold (1941) for United Artists. Then Marshall went to Columbia for Texas (1941) with Glenn Ford and William Holden, and RKO for Valley of the Sun (1942) with Lucille Ball. During the making of the latter he celebrated his 25th year in films. By the early 1940s he was best known as a director of Westerns.\n\nParamount\nParamount were delighted with The Ghost Breakers and offered Marshall a long-term contract. He did The Forest Rangers (1942) with Goddard and Fred MacMurray and directed the studio's all-star Star Spangled Rhythm (1942).\n\nMarshall was among the studio's leading directors by now. He worked with Dorothy Lamour and Dick Powell in Riding High (1943), and Mary Martin in True to Life (1943). He did And the Angels Sing (1944) with Lamour, MacMurray and the new star Betty Hutton, then did a comedy with MacMurray Murder, He Says (1945).\n\nMarshall did a biopic of Texas Guinan starring Hutton, Incendiary Blonde (1945), then a comedy with Eddie Bracken and Veronica Lake, Hold That Blonde (1945).\n\nMarshall had a big success with The Blue Dahlia (1946), starring Alan Ladd and Lake, from a script by Raymond Chandler.\n\nAlso popular was a comedy he made with Bob Hope, Monsieur Beaucaire (1946), and one with Hutton, The Perils of Pauline (1947), a tribute to the old serials that Marshall himself used to direct; it was produced by Sol Siegel.\n\nParamount got him to do another revue-style film, Variety Girl (1947).\n\nIn 1946 Sight and Sound magazine said Marshall had become:\nOne of our leading directors of comedy. Not comedy of ideas, however fuzzy or pretentious as with Preston Sturges, the \"art\" comedy. But showmanship, the Paramount, the Hollywood romantic comedy... of recent years had become so syrupy, plotty and ungay. Marshall has not remodelled the form or made drastic changes. But he has lightened it, sped it up, taken stories that would have remained solemn bores with more literal minded directors and made entertainment out of them, by having a little fun, going just a little wild in the process... With a style that is extroverted, clean, limber, above all natural, casual in its use of slapstick with the effect of making Sturges' slapstick seem almost studied, Marshall, you'll probably find, is the director credit that will explain how many a film with all the external attributes of a stinker... kept you in your seat, interested to the end, as it were, in spite of yourself.\nMarshall did a comedy with Goddard and MacDonald Carey, Hazard (1948), then he was borrowed by Walter Wanger for Tap Roots (1948) starring Susan Hayward.\n\nIn 1948 he quit Bonanza (which became Lust for Gold) with Glenn Ford and Ida Lupino after four days of filming due to disputes with producer S. Sylvan Simon. However he bounced back with My Friend Irma (1949) which introduced Martin and Lewis.\n\nIn 1949 Paramount extended its contract with him for two more years. He was reunited with Ball and Hope in Fancy Pants (1950), then did two with MacMurray, Never a Dull Moment (1950) at RKO and A Millionaire for Christy (1951) at Fox.\n\nIn 1950 Marshall and William Holden announced they had formed a company to make half hour TV shows but it appears they were not made.\n\nBack at Paramount he did The Savage (1952) with Charlton Heston, Off Limits (1953) with Hope and Mickey Rooney, and Scared Stiff (1953) with Martin and Lewis (remaking his earlier Ghost Breakers) .\n\nHe did a biopic, Houdini (1953) with Tony Curtis, then Money from Home (1954) with Martin and Lewis, and Red Garters (1954) with Rosemary Clooney.\n\nMarshall went to South Africa to make Duel in the Jungle (1954) then back at Paramount remade his own Destry Rides Again as Destry (1954) with Audie Murphy.\n\nFreelance\nMarshall went to Universal to do a musical, The Second Greatest Sex (1955), and a Western, Pillars of the Sky (1956). He returned to Africa to make Beyond Mombassa (1956) with Cornel Wilde for Columbia.\n\nAlso at Columbia he made The Guns of Fort Petticoat (1957) with Audie Murphy, produced by Murphy.\n\nHe went back to Paramount to make The Sad Sack (1957), Jerry Lewis' second film without Dean Martin.\n\nGlenn Ford\nMarshall then received an offer from MGM, who were then being run by Sol Siegel, to direct Glenn Ford in a Western, The Sheepman (1958). It was a hit, so he stayed at the studio to direct Imitation General (1959), with Ford; The Mating Game (1959) with Debbie Reynolds; and It Started with a Kiss (1959) and The Gazebo (1959), both with Reynolds and Ford. All these films were popular.\n\nMarshall and Ford made Cry for Happy (1961) at Columbia, which featured location filming in Japan. He announced plans to make a biopic of Ruth Roland with Debbie Reynolds but it was not made.\n\nThen Marshall directed Rita Hayworth in The Happy Thieves (1963) and directed the railroad segment of MGM's epic How the West Was Won (1963) in Cinerama.\n\nIn 1963 he celebrated his fiftieth year as a director. \"You try to keep up with the spirit of the times\", he said. \"\"You go along with it or wonder why they don't call you any more... Some of my friends have let the world go by them. They couldn't understand the changes... I don't think people have basically changed. They still want to be entertained.\"\n\nMarshall said his credo was \"you should see possibilities and they lead you to other things later on. If you're a mechanic you just do it as written. If you're – I wouldn't say an artist – then you try to make more of it. It's easy to be a mechanic.\"\n\nMarshall did Papa's Delicate Condition (1963) with Jackie Gleason, Dark Purpose (1964) with Shirley Jones and Advance to the Rear (1964) with Ford. He also did the pilot for Daniel Boone.\n\nLater career\nIn the late 1960s Marshall moved increasingly into television.\n\nHis later feature credits include two with Hope, Boy, Did I Get a Wrong Number! (1966) and Eight on the Lam (1967) and The Wicked Dreams of Paula Schultz (1968) with Elke Sommer.\n\nHis last feature that he directed was Hook, Line & Sinker (1969) starring Lewis.\n\nLucille Ball chose George Marshall to direct eleven episodes of her Here's Lucy television series in 1969, having previously worked in several Marshall comedies herself.\n\nHe appeared as an actor in The Crazy World of Julius Vrooder in 1974, his last feature film.\n\nHis last professional job was an acting appearance in Police Woman. Three days before he died he was inducted into the Academy of Motion Picture Arts and Sciences Hall of Fame.\n\nPersonal life\nMarshall married Germaine, who he met in France after World War I. They had two children, a son and a daughter.\n\nMarshall died after a two-week illness. He is buried in Holy Cross Cemetery in Culver City, Los Angeles.\n\nFor his contribution to the film industry, George Marshall has a star on the Hollywood Walk of Fame at 7048 Hollywood Boulevard.\n\nPartial filmography\n\nAnd the Best Man Won (1915) (short) – story\nAcross the Rio Grande (1916) (short) – writer, director – with Neal Hart\nThe Committee on Credentials (1916) (short) – director – with Harry Carey\nLiberty (1916) (serial) – assistant director\nLove's Lariat (1916) – writer, director – with Harry Carey, Neal Hart\nA Woman's Eyes (1916) - writer, director – with Harry Carey\nThe Devil's Own (1916) – director\nWon by Grit (1917) – director\nThe Comeback (1917) (short) – director, producer\nThey Were Four (1917) (short) – writer, director – with Joe Rickson\nBorder Wolves (1917) (short) – story, director – with Neal Hart\nRoped In (1917) – story, director – with Neal Hart\nThe Raid (1917) – writer, director – with Neal Hart\nThe Desert Ghost (1917) – director\nBill Brennan's Claim (1917) – director\nCasey's Border Raid (1917) – story, director – with Neal Hart\nThe Honor of Men (1917) – director\nSwede Hearts (1917) – story, director – with Neal Hart\nMeet My Wife (1917) – story, director – with Neal Hart\nDouble Suspicion (1917) – story, director – with Neal Hart\nRight of Way Casey (1917) – story, director – with Neal Hart\nSquaring It (1917) – story, director – with Neal Hart\nThe Ninth Day (1917) – director\nThe Man from Montana (1917) – story, director – with Neal Hart\nQuick Triggers (1918) (short) – director, writer – with Neal Hart\nThe Midnight Flyer (1918) (short) – director – with Hoot Gibson\nNaked Fists (1918) (short) – director, writer – with Neal Hart\nBeating the Limited (1918) (short) – director, story – with Neal Hart\nWhen Paris Saw Green Red (1918) (short) – director\nThe Fast Mail (1919) (short) – director\nThe Husband Hunter (1919) – director\nThe Gun Runners (1919) – director, story\nThe Adventures of Ruth (1919) (serial) – director – with Ruth Roland\nCharlot! Charlot! (1919) – director\nRuth of the Rockies (1920) (serial) – director – with Ruth Roland\nPrairie Trails (1920) – director - with Tom Mix\nWhy Trust Your Husband? (1921) – director, story\nHands Off! (1921) – director – with Tom Mix\nA Ridin' Romeo (1921) – director, story – with Tom Mix\nAfter Your Own Heart (1921) – director – with Tom Mix\nThe Lady from Longacre (1921) – director\n The Jolt (1921) – director, writer – with Edna Murphy\nSmiles Are Trumps (1922) – director\nWest Is West (1922) (short) – director\nThe Haunted Valley (1923) – director\nDon Quickshot of the Rio Grande (1923) – director\n Where is This West? (1923) – director\nMen in the Raw (1923) – director\nThe Back Trail (1924) – director\nThe Fight (1924) (short) – director\nThe Hunt (1924) (short) – director\nThe Race (1924) (short) – director\nPaul Jones Jr (1924) (short) – director\nThe Burglar (1924) (short) – director\nAll Abroad (1925) (short) – producer\nA Spanish Romeo (1925) (short) – director\nThe Big Game Hunter (1925) (short) – director\nThe Sky Jumper (1925) (short) – director\nA Parisian Knight (1925) (short) – director\nNeptune's Stepdaughter (1925) (short) – supervisor\nPawnshop Politics (1926) (short) – producer\nMatrimony Blues (1926) (short) – producer\nA Bankrupt Honeymoon (1926) (short) – supervisor\nFrom a Cabby's Seat (1926) (short) – director\nMoving Day (1926) (short) – supervisor\nThe Steeplechaser (1926) (short) – producer\nKing of the Kitchen (1926) (short) – producer\nA1 Society (1926) (short) – supervisor\nThe Non-Stop Bride (1926) (short) – supervisor\nThe Battling Kangaroo (1926) (short) – supervisor\nGolf Widows (1926) (short) – supervisor\nA Trip to Chinatown (1926) – production supervisor\nGirls (1927) (short) – director\nA Dog's Pal (1927) (short) – production supervisor\nThe Kangaroo Detective (1927) (short) – production supervisor\nA Man About Town (1927) (short) – director, producer\nWine, Women and Sauerkraut (1927) (short) – production supervisor\nRumors for Rent (1927) (short) – production supervisor\nSuite Homes (1927) (short) – production supervisor\nThe Gay Retreat (1927) (short) – production supervisor\nGentlemen Prefer Scotch (1927) (short) – director\nSlippery Silks (1927) (short) – producer\nThe Adventures of Ruth (1927) (short) – director\nTwenty Legs Under the Sea (1927) (short) – supervisor\nCaptain Kidd's Kittens (1927) (short) – supervisor\nThe Elephant's Elbows (1928) (short) – supervisor\nBear Knees (1928) (short) – supervisor\nNo Picnic (1928) (short) – director\nNo Sale Smitty (1928) (short) – director\nCamping Out (1928) (short) – director\nNo Vacation (1929) (short) – director\nCircus Time (1929) (short) – director\nNo Children (1929) (short) – director\nWatch My Smoke (1929) (short) – director\nTomato Omlette (1929) (short) – director\nPuckered Success (1929) (short) – director\nUncle's Visit (1929) (short) – director \nHey Diddle Diddle (1930) (short) – director, writer – with Nick Basil\nHe Loved Her Not (1931) (short) – director\nHow I Play Golf (1931) – series of 12 shorts starring Bobby Jones – director\nBig Dame Hunting (1932) (short) – director, story – with Ned Sparks\nJust a Pain in the Parlor (1932) (short) – director\nStrictly Unreliable (1932) (short) – director\nThe Old Bull (1932) (short) – director\n Pack Up Your Troubles (1932) (short) – director, actor\nAllum and Eve (1932) (short) – director\nA Firehouse Honeymoon (1932) (short) – director\n Their First Mistake (1932) (short) – director – with Laurel and Hardy\n Towed in a Hole (1932) (short) – director, idea – with Laurel and HardyEasy on the Eyes (1933) (short) – directorCalienete Love (1933) (short) – directorSweet Cookie (1933) (short) – directorKnock Out Kisses (1933) (short) – directorHusbands' Reunion (1933) (short) – directorThe Big Fibber (1933) (short) – directorHow to Break 90 (1933) – a series of 6 shorts starring Bobby Jones – directorOlsen's Big Moment (1933) – story\n 365 Nights in Hollywood (1934) – director – with Alice Faye\n She Learned About Sailors (1934) – director – with Alice Faye\n Wild Gold (1934) – directorCall It Luck (1934) – story\n Ever Since Eve (1934) – director\n Life Begins at 40 (1935) – director\n In Old Kentucky (1935) – director\n Show Them No Mercy! (1935) – director\n Music is Magic (1935) – director\n $10 Raise (1935) – director\n A Message to Garcia (1936) – director\n The Crime of Dr. Forbes (1936) – director\n Love Under Fire (1937) – director\n Can This Be Dixie? (1937) – director, story\n Nancy Steele Is Missing! (1937) – director\n Hold That Co-ed (1938) – director\n Battle of Broadway (1938) – director\n The Goldwyn Follies (1938) – director\n You Can't Cheat an Honest Man (1939) – director\n Destry Rides Again (1939) – director\n The Ghost Breakers (1940) – director\n When the Daltons Rode (1940) – director\n Pot o' Gold (1941) – director\n Texas (1941) – director\n Star Spangled Rhythm (1942) – director\n Valley of the Sun (1942) – director\n The Forest Rangers (1942) – director\n True to Life (1943) – director\n Riding High (1943) – director\n And the Angels Sing (1944) – director\n Murder, He Says (1945) – director\n Hold That Blonde (1945) – director\n Incendiary Blonde (1945) – director\n The Blue Dahlia (1946) – director\n Monsieur Beaucaire (1946) – director\n The Perils of Pauline (1947) – director\n Variety Girl (1947) – director, cameo\n Hazard (1948) – director\n Tap Roots (1948) – directorLust for Gold (1949) – directed for a few days before leaving film\n My Friend Irma (1949) – director\n Never a Dull Moment (1950) – director\n Fancy Pants (1950) – director\n Ace of Clubs (1951) (short) – director with Bobby Jones\n A Millionaire for Christy (1951) – director\n The Savage (1952) – director\n Off Limits (1952) – director\n Money from Home (1953) – director\n Scared Stiff (1953) – director\n Houdini (1953) – director\n Duel in the Jungle (1954) – director\n Red Garters (1954) – director\n Destry (1954) – director\n The Second Greatest Sex (1955) – directorScreen Directors Playhouse (1955) (TV series) – director, story – 1 episode \"The Silent Partner\" with Buster KeatonCavalcade of America (1955) (TV series) – actor episode \"How to Raise a Boy\"\n Beyond Mombasa (1956) – director\n Pillars of the Sky (1956) – director\n The Guns of Fort Petticoat (1957) – director\n The Sad Sack (1957) – director\n The Sheepman (1958) – director\n Imitation General (1958) – director\n The Mating Game (1959) – director\n It Started with a Kiss (1959) – director\n The Gazebo (1959) – director\n Cry for Happy (1961) – director\n The Happy Thieves (1961) – director\n How the West Was Won (1962) – director (the railroad scenes)\n Papa's Delicate Condition (1963) – director\n Advance to the Rear (1964) – director\n Dark Purpose (1964) – directorValentine's Day (1964–65) (TV series) – director 5 episodesThe Wackiest Ship in the Army (1964) (TV series) – director 1 episodeDaniel Boone (1964–70) (TV series) – director 10 episodes\n Boy, Did I Get a Wrong Number! (1966) – directorTarzan (1966) (TV series) – director 1 episode\n Eight on the Lam (1967) – director\n The Wicked Dreams of Paula Schultz (1968) – director\n Hook, Line & Sinker (1969) – directorHere's Lucy (1969) (TV series) – director 10 episodes – actor in episode \"Lucy Runs the Rapids\"Cade's County (1972) (TV series) – director 1 episodeHec Ramsey (1972) (TV series) – director 1 episodeThe Odd Couple (1972) (TV series) – director 2 episodesThe Crazy World of Julius Vrooder (1974) – actorPolice Woman'' (1975) (TV series) – actor in episode \"Blast\"\n\nAwards and nominations\n\nReferences\n\nExternal links\n\n \n \n \n\n1891 births\n1975 deaths\nAmerican film directors\nAmerican male film actors\nAmerican male television actors\nPresidents of the Directors Guild of America\nMale actors from Chicago\nFilm producers from Illinois\nAmerican male silent film actors\nAmerican male screenwriters\nAmerican television directors\nSilent film directors\nWestern (genre) film directors\nDeaths from pneumonia in California\nBurials at Holy Cross Cemetery, Culver City\n20th-century American male actors\nScreenwriters from Illinois\n20th-century American male writers\n20th-century American screenwriters"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song.",
"who directed the film?",
"Fred Zinnemann",
"what was the name of the song he won the Best Song award for?",
"\"Do Not Forsake Me, Oh My Darlin'\" (\"The Ballad of High Noon\").",
"did he work with that director again?",
"The composer worked again for Zinnemann on The Sundowners (1960)."
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | Was High Noon the only western he scored? | 5 | Was High Noon the only western Dimitri Tiomkin scored? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"High Noon is a 1952 American Western film produced by Stanley Kramer from a screenplay by Carl Foreman, directed by Fred Zinnemann, and starring Gary Cooper. The plot, which occurs in real time, centers on a town marshal whose sense of duty is tested when he must decide to either face a gang of killers alone, or leave town with his new wife.\n\nThough mired in controversy at the time of its release due to its political themes, the film was nominated for seven Academy Awards and won four (Actor, Editing, Score and Song) as well as four Golden Globe Awards (Actor, Supporting Actress, Score, and Black and White Cinematography). The award-winning score was written by Russian-born composer Dimitri Tiomkin.\n\nHigh Noon was selected by the Library of Congress as one of the first 25 films for preservation in the United States National Film Registry for being \"culturally, historically, or aesthetically significant\" in 1989, the NFR's first year of existence. An iconic film whose story has been partly or completely repeated in later film productions, its ending in particular has inspired a next-to-endless number of later films, including but not just limited to westerns.\n\nPlot\nIn Hadleyville, a small town in New Mexico Territory, Marshal Will Kane, newly married to Amy Fowler, prepares to retire. The happy couple will soon depart for a new life to raise a family and run a store in another town. However, word arrives that Frank Miller, a vicious outlaw whom Kane sent to prison, has been released and will arrive on the noon train. Miller's gang—his younger brother Ben, Jack Colby, and Jim Pierce—await his arrival at the train station.\n\n \nFor Amy, a devout Quaker and pacifist, the solution is simple—leave town before Miller arrives—but Kane's sense of duty and honor make him stay. Besides, he says, Miller and his gang will hunt him down anyway. Amy gives Kane an ultimatum: she is leaving on the noon train, with or without him.\n\nKane visits with a series of old friends and allies, but none can (or will) help: Judge Percy Mettrick, who sentenced Miller, flees on horseback, and urges Kane to do the same. Kane's young deputy Harvey Pell, who is bitter that Kane did not recommend him as his successor, says he will stand with Kane only if Kane goes to the city fathers and \"puts the word in\" for him. When Kane refuses to do so, Pell turns in his badge.\n\nKane's efforts to round up a posse at Ramírez’ Saloon, and then the church, are met with fear and hostility. Some townspeople, worried that a gunfight would damage the town's reputation, urge Kane to avoid the confrontation entirely. Some are Miller's friends, but others resent that Kane cleaned up the town in the first place. Some are of the opinion that their tax money goes to support local law enforcement and the fight is not a posse's responsibility. Sam Fuller hides in his house, sending his wife Mildred to the door to tell Kane he is not home. Jimmy offers to help, but is vision impaired and drunk; Kane sends him home for his own safety. The mayor continues to encourage Kane to just leave town. Kane's predecessor, Martin Howe, cannot assist Kane, as he is too old and arthritic. Herb Baker had agreed to be deputized, but backs out when he realizes he is the only volunteer. A final offer of aid comes from 14-year-old Johnny; Kane admires the boy's courage, but refuses his help.\n\nWhile waiting at the hotel for the train, Amy meets Helen Ramírez, who was once Miller's lover, then Kane's, finally Pell's, and is leaving as well. Helen tells Amy that if Kane were her man, she would not abandon him in his hour of need.\n\nAt the stables, Pell saddles a horse and tries to persuade Kane to take it. Their conversation becomes an argument, and then a fist fight. Kane finally knocks his former deputy senseless. Kane returns to his office to write out his will as the clock ticks toward noon.\n\nKane then goes into the street to face Miller and his gang alone. Amy and Ramirez ride by on a wagon with their luggage, traveling to the train station. Kane and Amy exchange a quick glance and then Amy stares straight ahead while passing Kane. The perspective elevates and expands to show Kane standing alone on a deserted street. The gunfight begins. As the train is about to depart, Amy hears the gunfire, leaps off, and runs back to town. Kane guns down Ben Miller and Colby, but is wounded as Miller attempts to burn Kane out of a barn. Choosing her husband's life over her religious beliefs, Amy picks up the pistol hanging inside Kane's office (it was Pell's pistol; he had hung it there when he resigned as deputy in disgust at Kane's treatment of him) and shoots Pierce from behind, leaving only Frank Miller, who grabs Amy as a human shield to force Kane into the open. When Amy claws Miller's face, he makes the mistake of pushing her to the ground, and Kane shoots him dead.\n\nKane helps his bride to her feet and they embrace. As the townspeople emerge and cluster around him, Kane throws his marshal's star in the dirt, glares at the crowd, and departs with Amy on their wagon.\n\nCast\n\nMain cast\n\nUncredited\n\nProduction\nThe production and release of High Noon intersected with the second Red Scare and the Korean War. In 1951, during production of the film, Carl Foreman was summoned before the House Un-American Activities Committee (HUAC) during its investigation of \"Communist propaganda and influence\" in the motion picture industry. Foreman had once been a member of the Communist party, but he declined to identify fellow members or anyone he suspected of current membership. As a result, he was labeled an \"uncooperative witness\" by the committee, making him vulnerable to blacklisting. After his refusal to name names was made public, Foreman's production partner Stanley Kramer demanded an immediate dissolution of their partnership. As a signatory to the production loan, Foreman remained with the High Noon project; but before the film's release, he sold his partnership share to Kramer and moved to Britain, knowing that he would not find further work in the United States.\n\nKramer later asserted that he ended their partnership because Foreman had threatened to falsely name him to HUAC as a Communist. Foreman said that Kramer feared damage to his own career due to \"guilt by association\". Foreman was indeed blacklisted by the Hollywood studios due to the \"uncooperative witness\" label and additional pressure from Columbia Pictures president Harry Cohn, MPA president John Wayne, and Los Angeles Times gossip columnist Hedda Hopper.\n\nAccording to Darkness at High Noon: The Carl Foreman Documents—a 2002 documentary based in part on a lengthy 1952 letter from Foreman to film critic Bosley Crowther—Foreman's role in the creation and production of High Noon has been unfairly downplayed over the years in favor of Kramer's. Foreman told Crowther that the film originated from a four-page plot outline he wrote that turned out to be very similar to a short story by John W. Cunningham called \"The Tin Star\". Foreman purchased the film rights to Cunningham's story and wrote the screenplay. By the time the documentary aired, most of the principals were dead, including Kramer, Foreman, Zinnemann, and Cooper. Victor Navasky, author of Naming Names, a definitive account of the Hollywood blacklist, told a reporter that, based on his interviews with Kramer's widow and others, the documentary seemed \"one-sided, and the problem is it makes a villain out of Stanley Kramer, when it was more complicated than that\".\n\nRichard Fleischer later claimed he helped Carl Foreman develop the story of High Noon over the course of eight weeks while driving to and from the set of The Clay Pigeon (1949) which they were making together. Fleischer says his RKO contract prevented him from directing High Noon.\n\nCasting\n\nJohn Wayne was originally offered the lead role in the film, but refused it because he believed that Foreman's story was an obvious allegory against blacklisting, which he actively supported. Later, he told an interviewer that he would \"never regret having helped run Foreman out of the country\". Gary Cooper was Wayne's longtime friend and shared his conservative political views; Cooper had been a \"friendly witness\" before HUAC but did not implicate anyone as a suspected Communist, and he later became a vigorous opponent of blacklisting. Ironically, Cooper won an Academy Award for his performance, and since he was working in Europe at the time, he asked Wayne to accept the Oscar on his behalf. Although Wayne's contempt for the film and refusal of its lead role were well known, he said, \"I'm glad to see they're giving this to a man who is not only most deserving, but has conducted himself throughout the years in our business in a manner that we can all be proud of ... Now that I'm through being such a good sport ... I'm going back to find my business manager and agent ... and find out why I didn't get High Noon instead of Cooper ...\"\n\nAfter Wayne refused the Will Kane role, Kramer offered it to Gregory Peck, who declined because he felt it was too similar to his role in The Gunfighter, the year before. Peck later said he considered it the biggest mistake of his career. Marlon Brando, Montgomery Clift, and Charlton Heston also declined the role.\n\nKramer saw Grace Kelly in an off-Broadway play and cast her as Kane's bride, despite Cooper and Kelly's substantial age disparity (50 and 21, respectively). Rumors of an affair between Cooper and Kelly during filming remain unsubstantiated. Kelly biographer Donald Spoto wrote that there was no evidence of a romance, aside from tabloid gossip. Biographer Gina McKinnon speculated that \"there might well have been a roll or two in the hay bales\", but cited no evidence, other than a remark by Kelly's sister Lizanne that Kelly was \"infatuated\" with Cooper.\n\nLee Van Cleef made his film debut in High Noon. Kramer first offered Van Cleef the Harvey Pell role, after seeing him in a touring production of Mister Roberts, on the condition that Van Cleef have his nose surgically altered to appear less menacing. Van Cleef refused and was cast instead as Colby, the only role of his career without a single line of dialog.\n\nFilming\nHigh Noon was filmed in the late summer/early fall of 1951 in several locations in California. The opening scenes, under the credits, were shot at Iverson Movie Ranch near Los Angeles. A few town scenes were shot in Columbia State Historic Park, a preserved Gold Rush mining town near Sonora, but most of the street scenes were filmed on the Columbia Movie Ranch in Burbank. St. Joseph's Church in Tuolumne City was used for exterior shots of the Hadleyville church. The railroad was the old Sierra Railroad in Jamestown, a few miles south of Columbia, now known as Railtown 1897 State Historic Park, and often nicknamed \"the movie railroad\" due to its frequent use in films and television shows. The railroad station was built for the film alongside a water tower at Warnerville, about 15 miles to the southwest.\n\nCooper was reluctant to film the fight scene with Bridges due to ongoing problems with his back, but eventually did so without the use of a stunt double. He wore no makeup to emphasize his character's anguish and fear, which was probably intensified by pain from recent surgery to remove a bleeding ulcer.\n\nThe running time of the story almost precisely parallels the running time of the film — an effect heightened by frequent shots of clocks to remind the characters (and the audience) that the villain will be arriving on the noon train.\n\nMusic\nThe movie's theme song, \"High Noon\" (as it is credited in the film), also known by its opening lyric, \"Do Not Forsake Me, Oh My Darling\", became a major hit on the Country-Western charts for Tex Ritter, and later, a pop hit for Frankie Laine as well. Its popularity set a precedent for theme songs that were featured in many subsequent Western films. Composer Dimitri Tiomkin's score and song, with lyrics by Ned Washington, became popular for years afterwards and Tiomkin became in demand for future westerns in the 1950s like Gunfight at the O.K. Corral and Last Train From Gun Hill.\n\nReception\nThe film earned an estimated $3.4 million at the North American box office in 1952.\n\nUpon its release, critics and audiences expecting chases, fights, spectacular scenery, and other common Western film elements were dismayed to find them largely replaced by emotional and moralistic dialogue until the climactic final scenes. Some critics scoffed at the unorthodox rescue of the hero by the heroine. David Bishop argued that had Quaker Amy not helped her husband by shooting a man in the back, such inaction would have pulled pacifism \"toward apollonian decadence\". Alfred Hitchcock thought Kelly's performance was \"rather mousy\" and lacking in animation; only in later films, he said, did she show her true star quality.\n\nHigh Noon has been cited as a favorite by several U.S. presidents. Dwight Eisenhower screened the film at the White House, and Bill Clinton hosted a record 17 White House screenings of it. \"It's no accident that politicians see themselves as Gary Cooper in High Noon,\" Clinton said. \"Not just politicians, but anyone who's forced to go against the popular will. Any time you're alone and you feel you're not getting the support you need, Cooper's Will Kane becomes the perfect metaphor.\" Ronald Reagan cited High Noon as his favorite film, due to the protagonist's strong commitment to duty and the law.\n\nBy contrast, John Wayne told an interviewer that he considered High Noon \"the most un-American thing I've ever seen in my whole life,\" and later teamed with director Howard Hawks to make Rio Bravo in response. \"I made Rio Bravo because I didn't like High Noon,\" Hawks explained. \"Neither did Duke [Wayne]. I didn't think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help. And who saves him? His Quaker wife. That isn't my idea of a good Western.\"\n\nZinnemann responded, \"I admire Hawks very much. I only wish he'd leave my films alone!\" In a 1973 interview, Zinnemann added, \"I'm rather surprised at Hawks' and Wayne's thinking. Sheriffs are people and no two people are alike. The story of High Noon takes place in the Old West but it is really a story about a man's conflict of conscience. In this sense it is a cousin to A Man for All Seasons. In any event, respect for the Western hero has not been diminished by High Noon.\"\n\nThe film was criticized in the Soviet Union as \"glorification of the individual\".\n\nIn Chapter XXXV of The Virginian by Owen Wister, there is a description of an incident very similar to the central plot of High Noon. Trampas (a villain) calls out the Virginian, who has a new bride waiting whom he might lose if he engages in the gunfight. High Noon has even been described as a \"straight remake\" of the 1929 film version of The Virginian in which Cooper also starred.\n\nAccolades\n\nEntertainment Weekly ranked Will Kane on their list of The 20 All Time Coolest Heroes in Pop Culture.\n\nAmerican Film Institute recognition\n 1998 AFI's 100 Years ... 100 Movies #33\n 2001 AFI's 100 Years ... 100 Thrills #20\n 2003 AFI's 100 Years ... 100 Heroes and Villains:\n Will Kane, hero #5\n 2004 AFI's 100 Years ... 100 Songs:\n \"High Noon (Do Not Forsake Me, Oh My Darlin')\" #25\n 2005 AFI's 100 Years of Film Scores #10\n 2006 AFI's 100 Years ... 100 Cheers #27\n 2007 AFI's 100 Years ... 100 Movies (10th Anniversary Edition) #27\n 2008 AFI's 10 Top 10 #2 Western film\n\nLegacy and cultural influence\n\nHigh Noon is considered an early example of the revisionist Western. Kim Newman calls it the \"most influential Western of the 1950s (because) its attitudes subtly changed the societal vision of the whole (Western) genre\". The traditional format of the Western is of a strong male character leading the civilised against the uncivilised but, in this film, the civilised people fail (in a way described by John Wayne as \"un-American\") to support their town marshal. Newman draws the contrast between the \"eerily neat and civilised\" town of Hadleyville and the \"gutlessness, self-interest and lack of backbone exhibited by its inhabitants\" who will allow the town to \"slip back into the savage past\" from which Kane and his deputies once saved it. In his article, The Women of \"High Noon\": A Revisionist View, Don Graham argues that in addition to the man-alone theme, High Noon \"represents a notable advance in the portrayal of women in Westerns\". Compared with the \"hackneyed presentation\" of stereotypical women characters in earlier Westerns, High Noon grants the characters of Amy and Helen an expanded presence, the two being counterpoints. While Helen is socially inferior, she holds considerable economic power in the community. Helen's encounter with Amy is key because she tells Amy that she would never leave Kane if he were her man – she would get a gun and fight, thus predicating Amy's actions. For most of the film, Amy is the \"Eastern-virgin archetype\" but her reaction to the first gunshot \"transcends the limitations of her genre role\" as she returns to town and kills Pierce. The gang's actions indicate the implicit but very real threat they pose to women; as is suggested by the Mexican woman crossing herself when the first three ride into town. Graham summarises the many references to women as a community demoralised by the failure of its male members, other than Kane. The women, he asserts, equal Kane in strength of character to the extent that they are \"protofeminists\".\n\nIn 1989, 22-year-old Polish graphic designer Tomasz Sarnecki transformed Marian Stachurski's 1959 Polish variant of the High Noon poster into a Solidarity election poster for the first partially free elections in communist Poland. The poster, which was displayed all over Poland, shows Cooper armed with a folded ballot saying \"Wybory\" (i.e., elections) in his right hand while the Solidarity logo is pinned to his vest above the sheriff's badge. The message at the bottom of the poster reads: \"W samo południe: 4 czerwca 1989\", which translates to \"High Noon: 4 June 1989.\"\n\nAs former Solidarity leader Lech Wałęsa wrote, in 2004,\n\nThe 1981 science fiction film Outland, starring Sean Connery as a federal agent on an interplanetary mining outpost, has been compared to High Noon due to similarities in themes and plot.\n\nHigh Noon is referenced several times on the HBO drama series The Sopranos. Tony Soprano cites Gary Cooper's character as the archetype of what a man should be, mentally tough and stoic. He frequently laments, \"Whatever happened to Gary Cooper?\" and refers to Will Kane as the \"strong, silent type\". The iconic ending to the film is shown on a television during an extended dream sequence in the fifth-season episode \"The Test Dream\".\n\nHigh Noon inspired the 2008 hip-hop song of the same name by rap artist Kinetics, in which High Noon is mentioned along with several other classic Western films, drawing comparisons between rap battles and Western-film street showdowns.\n\nSequels and remakes\n A television sequel, High Noon, Part II: The Return of Will Kane, was produced in 1980, and aired on CBS in November of that year. Lee Majors and Katherine Cannon played the Cooper and Kelly roles. Elmore Leonard wrote the original screenplay.\nOutland is a 1981 British science fiction thriller film written and directed by Peter Hyams and starring Sean Connery, Peter Boyle, and Frances Sternhagen that was inspired by High Noon.\n In 2000, Stanley Kramer's widow Karen Sharpe Kramer produced a remake of High Noon as a TV movie for the cable channel TBS. The film starred Tom Skerritt as Will Kane, with Michael Madsen as Frank Miller.\n In 2016, Karen Kramer signed an agreement with Relativity Studios for a feature film remake of High Noon, a modernized version set in the present day at the US-Mexico border. That deal collapsed when Relativity declared bankruptcy the following year; but in 2018, Kramer announced that Classical Entertainment had purchased the rights to the project, which will be produced by Thomas Olaimey with writer-director David L. Hunt.\n\nReferences\n\nFurther reading\n Allison, Deborah. \"'Do Not Forsake Me: The Ballad of High Noon' and the rise of the movie theme song.\" Senses of Cinema 28 (2003).\n Burton, Howard A. \"'High Noon': Everyman Rides Again.\" Quarterly of Film Radio and Television 8.1 (1953): 80–86.\n \n \n Hamilton, Cynthia S. Western and Hard-Boiled Detective Fiction in America: From High Noon to Midnight (Springer, 1987).\n \n \n Rapf, Joanna E. \"Myth, Ideology, and Feminism in High Noon.\" Journal of Popular Culture 23.4 (1990): 75+.\n\nExternal links\n\n \n \n \n \nHigh Noon essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 , pages 458–460 \n \"The 34 best political movies ever made\", Ann Hornaday, The Washington Post January 23, 2020), ranked #27\n\n1952 Western (genre) films\n1952 films\nAmerican black-and-white films\nAmerican films\nAmerican Western (genre) films\nEnglish-language films\nFilms scored by Dimitri Tiomkin\nFilms that won the Best Original Score Academy Award\nFilms that won the Best Original Song Academy Award\nFilms about Quakers\nFilms based on short fiction\nFilms directed by Fred Zinnemann\nFilms featuring a Best Actor Academy Award-winning performance\nFilms featuring a Best Drama Actor Golden Globe winning performance\nFilms featuring a Best Supporting Actress Golden Globe-winning performance\nFilms produced by Stanley Kramer\nFilms set in New Mexico\nFilms set in the 1880s\nFilms whose editor won the Best Film Editing Academy Award\nFilms with screenplays by Carl Foreman\nFilms about McCarthyism\nRevisionist Western (genre) films\nUnited Artists films\nUnited States National Film Registry films\nUnited States Marshals Service in fiction",
"The High Noon Saloon is a live music venue located in Madison, Wisconsin.\n\nAbout\nThe venue features rock, metal, alternative, punk, alt-country, pop, indie, bluegrass, blues, and folk music, hosting national acts, smaller touring bands from around the globe, as well as local music groups.\n\nThe High Noon has a country-western vibe, and is named after the western themed Gary Cooper film, High Noon.\n\nHistory\nThe High Noon Saloon opened on May 5, 2004, in Madison Wisconsin. It was founded by Cathy Dethmers to replace O'Cayz Corral, which was destroyed in a 2001 fire.\n\nThe building previously housed the \"Buy & Sell\" shop, a Madison resale shop with an unusually large neon colored fish on its roof. Numerous national and local bands practiced and recorded in the basement of the Buy & Sell shop who would eventually play upstairs in the High Noon Saloon. Turbonegro recorded two songs of their Ass Cobra album with Sean Bovine at Green Room studios in the south-east corner of the basement. No Name printing would churn out their flyers in the basement, also home to Rhetoric Records. Brainerd recorded their first album, \"There's No Eye In Pussy,\" in the two central studios, directly under the dance floor for the High Noon. Ivan Klipstein also recorded his third album \"Lifestyle!\" there. Brickshithouse, Trin-Tran, as well as X-OR and countless others recorded and practiced there. The basement is currently home to \"The Brink,\" which features jazz music and wedding reception catering, and the first floor is also home to \"The Brass Ring\" pool hall and eatery. \n\nPrior to being the \"Buy & Sell Shop,\" the building was an automobile repair garage.\n\nCathy Dethmers retired as club owner and sold High Noon to Madison-based promoter, FPC Live, in 2017.\n\nExternal links\n Official Website\n\nReferences\n\nMusic venues in Wisconsin"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song.",
"who directed the film?",
"Fred Zinnemann",
"what was the name of the song he won the Best Song award for?",
"\"Do Not Forsake Me, Oh My Darlin'\" (\"The Ballad of High Noon\").",
"did he work with that director again?",
"The composer worked again for Zinnemann on The Sundowners (1960).",
"Was High Noon the only western he scored?",
"Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne;"
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | Did he work on any other John Wayne movies? | 6 | In addition to The High and the Mighty Did Dimitri Tiomkins work on any other John Wayne movies? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | CANNOTANSWER | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | false | [
"Robert P. \"Bob\" Orrison (July 28, 1928 – October 11, 2014) was an American film and television stunt performer.\n\nHe was the stunt double for actor Audie Murphy for many films and did stunt work in John Wayne movies such as The Undefeated and Chisum. He also performed stunts in such films as The Wild Bunch, Smokey and the Bandit, Rambo III, Days of Thunder, Die Hard 2, and Speed. For television, he worked on the original Star Trek series doubling for Leonard Nimoy and DeForest Kelley on several occasions. He was the primary stunt driver of the General Lee car on The Dukes of Hazzard, and doubled for George Peppard in stunts performed for The A-Team.\n\nOn October 11, 2014, Orrison and his friend and fellow retired stuntman, Gary McLarty, were killed in a traffic collision in Rancho Cordova, California, where Orrison had lived since 2007. He was 86.\n\nFilmography\n\nReferences\n\nExternal links \n\n1928 births\n2014 deaths\nAmerican stunt performers\nRoad incident deaths in California",
"Bruce and Pepper Wayne Gacy's Home Movies also known as Home Movies is a short experimental film by Bruce LaBruce and Candy Parker.\n\nMade in Toronto, Ontario, Canada in 1988, it is filmed in colour and black and white on Super 8mm film and is 12 minutes long.\n\nThe conceptual premise of the film is that the audience is watching the home movies of Bruce Wayne Gacy and Pepper Wayne Gacy, the children of the notorious serial killer John Wayne Gacy. The film features various disturbing vignettes filmed in a dysfunctional home; a woman arrives (G. B. Jones) and begins beating up two men, a man (Bruce LaBruce) goes through a range of emotions watching a man (Dave Dictor) attempt to perform drunken oral sex on a woman on a bathroom floor while an oblivious small dog runs about, and a man eats in a deranged manner from a dog food bowl on the floor and howls.\n\nThe film stars Bruce LaBruce, G.B. Jones, Dave Dictor, Joe The Ho, David Gravelle.\n\nBruce and Pepper Wayne Gacy's Home Movies was first shown in 1990 and 1991 by LaBruce and Jones as part of the J.D.s movie screenings in London in the UK, Montreal and Toronto in Canada, and in San Francisco and at Hallwalls in Buffalo in the U.S. It is still being regularly screened at museums and film festivals worldwide.\n\nReferences\n\nFurther reading\nEditors: Allan, Yoran; Cullen, Del; Patterson, Hannah,Contemporary North American Film Directors: A Wallflower Critical Guide, Wallflower Press, 2002 \nEditors: Ehmke, Ronald and Licata, Elizabeth, Consider the Alternatives: 20 Years of Contemporary Art at Hallwalls, Hallwalls Publishing, 1996\n\nExternal links\n\nCanadian films\n1980s English-language films\nCanadian comedy-drama films\n1988 comedy-drama films\nFilms directed by Bruce LaBruce\nQueercore films\nCanadian LGBT-related films\nCanadian short films\nFilms shot in Toronto\nFilms about John Wayne Gacy\nLGBT-related short films\n1988 comedy films\n1988 films\n1988 drama films"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song.",
"who directed the film?",
"Fred Zinnemann",
"what was the name of the song he won the Best Song award for?",
"\"Do Not Forsake Me, Oh My Darlin'\" (\"The Ballad of High Noon\").",
"did he work with that director again?",
"The composer worked again for Zinnemann on The Sundowners (1960).",
"Was High Noon the only western he scored?",
"Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne;",
"Did he work on any other John Wayne movies?",
"I don't know."
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | Did anything significant happen at this time of his life? | 7 | Did anything significant happen in 1954 to Dimitri Tiomkins? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"Thomas LeClair (born 1944) is a writer, literary critic, and was the Nathaniel Ropes Professor of English at the University of Cincinnati until 2009. He has been a regular book reviewer for the New York Times Book Review, the Washington Post Book World, the Nation, the Barnes & Noble Review, and the Daily Beast.\n\nEarly life\nTom LeClair grew up in Vermont, got his AB from Boston College, his MA from the University of Vermont, and his PhD from Duke University. He taught for two years at Norwich College before joining the faculty at the University of Cincinnati in 1970.\n\nLiterary career\nIn 1979, LeClair secured the first interview with Don Delillo, in Athens. LeClair taught at the University of Athens in 1981-82, and since then regularly spent his summers and sabbaticals in Greece.\n\nHis works of criticism include In the Loop: Don DeLillo and the Systems Novel, The Art of Excess: Mastery in Contemporary American Fiction, and What to Read (and Not): Essays and Reviews. He is co-editor with Larry McCaffery of Anything Can Happen, a collection of interviews the two co-editors did with contemporary American novelists.\n\nBibliography\nNovels:\nPassing Off (1996)\nWell-Founded Fear (2000)\nPassing On (2004)\nThe Liquidators (2006)\nPassing Through (2008)\nLincoln's Billy (2015)\nPassing Away (2018)\n\nNonfiction works:\nIn the Loop: Don DeLillo and the Systems Novel (1988)\nANYTHING CAN HAPPEN: Interviews with Contemporary American Novelists (1988) with Larry McCaffery\nThe Art of Excess: Mastery in Contemporary American Fiction (1989)\nWhat to Read and Not (2014)\nHarpooning Donald Trump (2017)\n\nReferences\n\nAmerican editors\nAmerican literary critics\nPostmodernists\nUniversity of Cincinnati faculty\nLiving people\nAmerican academics of English literature\n1944 births",
"\"Anything Could Happen\" is a song by English singer and songwriter Ellie Goulding from her second studio album, Halcyon (2012). It was released on 17 August 2012 as the album's lead single. Written and produced by Goulding and Jim Eliot of English electropop duo Kish Mauve, the song received positive reviews from music critics. \"Anything Could Happen\" peaked at number five on the UK Singles Chart. Outside the United Kingdom, \"Anything Could Happen\" peaked within the top ten of the charts in Poland, the top 20 of the charts in Australia, the Czech Republic Ireland and New Zealand and the top 50 of the charts in the United States.\n\nThe accompanying music video was directed by Floria Sigismondi and filmed in Malibu, California. The video depicts Goulding and her on-screen boyfriend getting into a car accident. \"Anything Could Happen\" was used in the Beats by Dre's #ShowYourColor campaign commercial and in the trailer for the second season of the HBO series Girls. The song has been covered by The Script, Fun and Fifth Harmony.\n\nBackground and composition\nGoulding appeared on Fearne Cotton's BBC Radio 1 show on 9 August 2012 for the premiere of the song. She told Cotton, \"I've been with this song a long time and I've had to listen to it a lot to get it just how I wanted it.\"\n\nDuring a behind-the-scenes featurette for the \"Anything Could Happen\" music video, Goulding told MTV News, \"I suppose it's one of those songs where I sort of talk about bits of my childhood, but also about my friendship with this person, and, um, I suppose it's a song of realization [...] And it's called 'Anything Could Happen,' [so] I'm hoping it will make people go out and propose to their girlfriends or go on that holiday they never ended up doing. I hope it will provoke positivity, as opposed to make people really sad.\"\n\nAccording to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, \"Anything Could Happen\" is written in the key of C major and has a moderate tempo of 103 beats per minute. Goulding's vocals span from G3 to E5 in the song.\n\nCritical reception\n\"Anything Could Happen\" received positive reviews from critics, with most praising the lyrical content and Goulding's vocals. Lewis Corner of Digital Spy gave \"Anything Could Happen\" four out of five stars, stating, \"'After the war we said we'd fight together/ I guess we thought that's what humans do,' the electro-folk starlet serenades over a booming bass synth and choppy piano, before bursting into a sky-soaring chorus that manages to keep up with her haunting, high-pitched \"ooohs\". The result is a gothic love anthem that, truth be told, we'd happily see replace 'Puppy Love' at wedding receptions for years to come.\" Entertainment Weekly commented that with \"Anything Could Happen\", Goulding \"strikes shimmery synth-pop gold again.\" Erin Thompson of the Seattle Weekly called the song \"lovely\" and \"impactful\", while commending Goulding for \"writing songs that unfold like stories\". \"Anything Could Happen\" was ranked number 84 by the Village Voices annual Pazz & Jop critics' poll.\n\nCommercial performance\n\"Anything Could Happen\" debuted at number five on the UK Singles Chart, selling 49,680 copies in its first week. The single stayed at number five the following week, selling 37,895 copies. As of August 2013, it had sold 326,836 copies in the UK.\n\nIn the United States, \"Anything Could Happen\" debuted at number 17 on the Bubbling Under Hot 100 Singles chart on the issue dated 8 September 2012, before rising to number three on 20 October upon its release to radio. The song entered the Billboard Hot 100 at number 75 for the week of 27 October 2012, peaking at number 47 in its tenth week on the chart. It also topped the Hot Dance Club Songs chart during the final week of 2012. The single was certified gold by the Recording Industry Association of America (RIAA) on 17 January 2013, and platinum on 24 July 2013. As of January 2014, the song had sold 1,166,000 copies in the US.\n\nThe song performed moderately elsewhere, reaching number two in Poland, number 16 in the Czech Republic, Ireland and New Zealand, number 20 in Australia, number 37 in Canada and number 66 in Germany.\n\nMusic video\nThe music video for \"Anything Could Happen\" was directed by Floria Sigismondi. In an interview with Carson Daly on his 97.1 AMP Radio show on 6 August 2012, Goulding stated that the video would be filmed the following day in Malibu, California. The video revolves around a couple's car crash near a Malibu beach. \"I find myself on a rock, with no idea how I've been there\", she told Fuse. \"I've been in a car crash. I end up being a mermaid-type thing.\" She added, \"I wanted to do a big video with big effects by the ocean [...] I wanted to do something really epic.\" Goulding declined offers of a stuntwoman to help her shoot the video, and instead performed her own stunts, such as being dropped onto a roof.\n\nOn 5 September, the \"Anything Could Happen\" video debuted via Goulding's YouTube channel. The video shows Goulding in a car with her on-screen boyfriend as they observe waves crashing on a beach. Goulding is then seen waking up on the beach, singing to the song, and walking around the beach finding silver floating spheres and triangled shaped mirrors. Goulding is also seen close up crying while singing and then bleeding out of her nose. The video continues to show Goulding and the on-screen boyfriend in a car crash, meeting up again in their \"after life\" on the beach. Later, Goulding is shown looking on to the car crash from above, while observing her blood-covered boyfriend, with a big fluffy pink ball holding her up by ropes. The video ends as Goulding floats away from the crash scene.\n\nLyric video\nIn late July 2012, Goulding invited fans via Facebook to contribute to a lyric video for \"Anything Could Happen\" by submitting photos related to the song's lyrics using Instagram. The lyric video premiered on Goulding's YouTube channel on 9 August 2012.\n\nBen & Ellie Edit\nA second music video, titled the Ben & Ellie Edit, was released on Goulding's YouTube channel on 9 October 2012. This version all shot close up and cross fading into different scenes. The video begins with the text \"Ellie Goulding\", and flashes of a car driving and Goulding in multiple shots of her body. Once the song begins, Goulding starts singing, multiple shots of her being shown, close-up, side view, and bright lights, singing along.\n\nUse in media and cover versions\nGoulding is featured performing \"Anything Could Happen\" in the Beats by Dre commercial as part of their #ShowYourColor campaign, which debuted in September 2012, alongside the likes of Miami Heat player LeBron James and fellow Universal Music artists Lil Wayne and MGK.\n\nThe track was also used in the trailer for the second season of the HBO comedy-drama series Girls and in an episode of the Fox sitcom New Girl. It was also used in the trailer for the fourth season of the Network Ten comedy-drama series Offspring in Australia. The track was also used by TBS during the intro for game one of the 2012 ALDS between the Oakland Athletics and the Detroit Tigers. The song is also featured as the background music for the HTC Vive commercial, with Emily Blunt, Jennifer Garner, Michelle Yeoh and Juliette Lewis.\n\nThe song was covered in BBC Radio 1's Live Lounge by both Irish alternative rock band the Script and American indie pop band Fun on 27 November 2012 and 26 February 2013, respectively. In December 2012, the girl group Fifth Harmony performed \"Anything Could Happen\" in the semi-finals and finals on the second season of The X Factor (U.S.). Melissa Benoist, Jacob Artist and Kevin McHale covered the song in the fourteenth episode of the fourth season of the Fox series Glee, \"I Do\", aired 14 February 2013. Goulding joined Taylor Swift for a surprise performance of the song during Swift's Red Tour at Los Angeles' Staples Center on 23 August 2013. On 14 December 2013, Goulding performed \"Anything Could Happen\" on tenth series finale of The X Factor with finalist Luke Friend. The track has also been featured in the 2013 teen film, G.B.F. starring Michael J. Willett, Paul Iacono and Sasha Pieterse.\n\nNotable performances\nOn September 30, 2021 Goulding performed the song surrounded by floating cloud structures and white-clad dancers as part of the opening ceremony of Expo 2020 held under the fair's centerpiece, the Al Wasl Dome in Dubai, U.A.E.\n\nTrack listings\n\nCredits and personnel\nCredits adapted from the liner notes of Halcyon.\n\n Ellie Goulding – vocals, production\n Jim Eliot – production, drums, synths, piano, percussion, drum programming, sound effects\n London Community Gospel Choir – choir\n Sally Herbert – choir arrangement, choir conducting\n Graham Archer – choir recording engineering\n Joel M. Peters – choir recording engineering assistance\n Tom Elmhirst – mixing\n Ben Baptie – mixing assistance, additional engineering\n Naweed – mastering\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nSee also\n List of number-one dance singles of 2012 (U.S.)\n\nReferences\n\nExternal links\n \n Lyrics at elliegoulding.com\n\n2012 singles\n2012 songs\nEllie Goulding songs\nInterscope Records singles\nMusic videos directed by Floria Sigismondi\nPolydor Records singles\nSongs written by Ellie Goulding\nSongs written by Jim Eliot"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song.",
"who directed the film?",
"Fred Zinnemann",
"what was the name of the song he won the Best Song award for?",
"\"Do Not Forsake Me, Oh My Darlin'\" (\"The Ballad of High Noon\").",
"did he work with that director again?",
"The composer worked again for Zinnemann on The Sundowners (1960).",
"Was High Noon the only western he scored?",
"Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne;",
"Did he work on any other John Wayne movies?",
"I don't know.",
"Did anything significant happen at this time of his life?",
"According to film historian Arthur R. Jarvis, Jr., the score \"has been credited with saving the movie.\""
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | how did the score save the movie? | 8 | how did the score save the movie The High and the Mighty? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"The eighth series of Dancing with the Stars premiered on 14 April 2019 on Three, and is hosted by Dai Henwood and Sharyn Casey. Camilla Sacre-Dallerup, Julz Tocker, and Rachel White all returned as the series' judges, with Sacre-Dullerup serving as head judge again. The full cast was announced on 4 April.\n\nCast\n\nCouples\n\nScorecard \n\n Red numbers indicate the couples with the lowest score for each week.\n Green numbers indicate the couples with the highest score for each week.\n indicates the couples eliminated that week.\n indicates the returning couple that finished in the bottom two.\n the returning couple that was the last to be called safe.\n indicates the winning couple.\n indicates the runner-up couple.\n indicates the couple who placed third.\n indicates the couple who placed fourth.\n\nAverage score chart \nThis table only counts for dances scored on a 30-point scale.\n\nHighest and lowest scoring performances \nThe best and worst performances in each dance according to the judges' 30-point scale are as follows:\n\nCouples' highest and lowest scoring dances \nScores are based upon a potential 30-point maximum (team dances are excluded).\n\nWeekly scores \nIndividual judges' scores in the charts below (given in parentheses) are listed in this order from left to right: Rachel White, Camilla Sacre-Dallerup, Julz Tocker.\n\nWeek 1 \nAll voting proceeds from this week went to the Our People, Our City Fund to help support the families and Muslim communities impacted by the Christchurch mosque shootings. From the second week onwards, all proceeds went to the celebrity contestant's charity of choice.\n\n Running order (Night 1)\n\n Running order (Night 2)\n\nWeek 2: Top 40 Week \n\n Running order (Night 1)\n\n Running order (Night 2)\n\nWeek 3: Guilty Pleasures Week \n\n Running order (Night 1)\n\n Running order (Night 2)\n\nWeek 4: Club Night \n\n Running order (Night 1)\n\nRunning order (Night 2)\n\nJudges' vote to save\n\n White: K'Lee & Scott\n Tocker: K'Lee & Scott\n Sacre-Dallerup: Did not vote, but would have voted to save K'Lee & Scott\n\nWeek 5: 80s Week \n\n Running order (Night 1)\n\n Running order (Night 2)\n\nJudges' vote to save\n\n White: William & Amelia\n Tocker: William & Amelia\n Sacre-Dallerup: Did not vote, but would have voted to save William & Amelia\n\nWeek 6: Rock Week \n\n Running order (Night 1)\n\n Running order (Night 2)\n\nJudges' vote to save\n\n White: K'Lee & Scott\n Tocker: K'Lee & Scott\n Sacre-Dallerup: Did not vote, but would have voted to save K'Lee & Scott\n\nWeek 7: Rocketman Week \n\n Running order (Night 1)\n\n Running order (Night 2)\n\nJudges' vote to save\n\n White: Laura & Shae\n Tocker: Laura & Shae\n Sacre-Dallerup: Did not vote, but would have voted to save Laura & Shae\n\nWeek 8: Celebrity Trio Week \n\n Running order (Night 1)\n\n Running order (Night 2)\n\nJudges' vote to save\n\n White: Manu & Loryn\n Tocker: Glen & Vanessa\n Sacre-Dallerup: Manu & Loryn\n\nWeek 9: Semi-Final \n\nRunning order\n\nJudges' vote to save\n\n White: William & Amelia\n Tocker: William & Amelia\n Sacre-Dallerup: Did not vote, but would have voted to save William & Amelia\n\nWeek 10: Final \n\nRunning order (Top 4)\n\nRunning order (Top 2)\n\nDance chart \n\n Highest scoring dance\n Lowest scoring dance\n\nReferences\n\nseries 8\n2019 New Zealand television seasons",
"Strictly Come Dancing returned for its fifteenth series with a launch show on 9 September on BBC One, with the live shows starting on 23 September 2017. Tess Daly and Claudia Winkleman returned as hosts, while Zoe Ball returned to host Strictly Come Dancing: It Takes Two on BBC Two. Bruno Tonioli, Craig Revel Horwood, and Darcey Bussell returned as judges. On 9 May 2017, it was announced that Len Goodman, who had retired from the show, would be replaced by Shirley Ballas.\n\nTonioli missed the week 5 episode due to a scheduling conflict, and was not replaced by a guest judge. Therefore, the maximum score for a pair that week was 30.\n\nIn a change to the format to previous series, there was no elimination in the final, hence there were three runner-up couples this series. The series was won by Holby City actor Joe McFadden and his professional partner Katya Jones. McFadden was the first Scottish celebrity to win the show, and at the time was the oldest winner at 42, though that milestone subsequently passed to Bill Bailey, the winner of series 18. Another Strictly record was broken as Alexandra Burke scored the most \"10s\" in the history of the show with 32 surpassing the record set by Series 7 runner-up Ricky Whittle. This was Brendan Cole's final series as a pro.\n\nProfessional dancers\nOn 21 June 2017, the list of professionals returning for the fifteenth series was revealed. Professionals from the last series who did not return include last year's winner Joanne Clifton, former professional finalist Natalie Lowe and Oksana Platero. Amy Dowden, former Dancing with the Stars Australia professional dancer Dianne Buswell and Nadiya Bychkova replaced them. For the second year in a row, Neil Jones and Chloe Hewitt were not partnered with a celebrity.\n\nCouples\nOn 7 August 2017, the first celebrity announced to be participating in the series was The Saturdays singer Mollie King. Celebrity reveals continued across the month with the line up being completed on The One Show on 21 August 2017.\n\nScoring chart\n\nAverage chart\nFor Week 5, where Bruno Tonioli was absent and there were only three judges, the scores have been weighted to work on the same scale. Extra points given from the Paso Doble-thon in Week 10 have been omitted from the total.\n\nHighest and lowest scoring performances of the series\nThe highest and lowest performances in each dance are as follows. Scores from Week 5, when there were only three judges, have been adjusted to show a score out of 40.\n\nJonnie Peacock and Mollie King are the only celebrities not to land on this list.\n\nCouples' highest and lowest scoring dances\nThe highest and lowest performances in each couple are listed. Scores from Week 5, when there were only three judges, have been adjusted to show a score out of 40.\n\nWeekly scores and songs\nUnless indicated otherwise, individual judges scores in the charts below (given in parentheses) are listed in this order from left to right: Craig Revel Horwood, Darcey Bussell, Shirley Ballas, Bruno Tonioli.\n\nLaunch show\n\nMusical guests: Shania Twain – \"Life's About to Get Good\" and Rita Ora – \"Lonely Together\"\nDuring the show, professional dancers performed a tribute to former presenter Sir Bruce Forsyth, who died just weeks before the show began.\n\nWeek 1\n\nRunning order\n\nWeek 2\nMusical guest: Emeli Sandé—\"Starlight\"\n Running order \n\nJudges' votes to save\n\nHorwood: Chizzy & Pasha\nBussell: Brian & Amy\nTonioli: Brian & Amy\nBallas: Brian & Amy\n\nWeek 3: Movie Week\nMusical guest: Sheridan Smith—\"My Man\"\n Running order \n\nJudges' votes to save\n\nHorwood: Simon & Karen\nBussell: Simon & Karen\nTonioli: Simon & Karen\nBallas: Did not vote, but would have voted to save Simon & Karen\n\nWeek 4\n Musical guest: Gregory Porter—\"Smile\"\n Running order \n\nJudges' votes to save\n\nHorwood: Davood & Nadiya\nBussell: Davood & Nadiya\nTonioli: Davood & Nadiya\nBallas: Did not vote, but would have voted to save Davood & Nadiya\n\nWeek 5\n\nIndividual judges scores given in the chart below (given in parentheses) are listed in this order from left to right: Craig Revel Horwood, Darcey Bussell, Shirley Ballas.\n\nMusical guest: The Script—\"Arms Open\"\n Running order \n\nJudges' votes to save\nHorwood: Simon & Karen\nBussell: Simon & Karen\nBallas: Did not vote, but would have voted to save Simon & Karen\n\nWeek 6: Halloween Week\nMusical guest: Steps—\"Scared of the Dark\"\n Running order \n\nJudges' votes to save\n\nHorwood: Mollie & AJ\nBussell: Mollie & AJ\nTonioli: Mollie & AJ\nBallas: Did not vote, but would have voted to save Mollie & AJ\n\nWeek 7\nMusical guest: Stereophonics—\"Caught by the Wind\"\n Running order \n\nJudges' votes to save\n\nHorwood: Mollie & AJ\nBussell: Aston & Janette\nTonioli: Aston & Janette\nBallas: Mollie & AJ\n\nWeek 8\nMusical guest: Seal—\"Autumn Leaves\"\n Running order \n\nJudges' votes to save\n\nHorwood: Jonnie & Oti\nBussell: Jonnie & Oti\nTonioli: Jonnie & Oti\nBallas: Did not vote, but would have voted to save Jonnie & Oti\n\nWeek 9: Blackpool Week\nMusical guest: Tears for Fears—\"Everybody Wants to Rule the World\" and Alfie Boe & Michael Ball—\"New York, New York\"\n Running order \n\nJudges' votes to save\n\nHorwood: Debbie & Giovanni\nBussell: Debbie & Giovanni\nTonioli: Debbie & Giovanni\nBallas: Did not vote, but would have voted to save Debbie & Giovanni\n\nWeek 10\nMusical guest: Kelly Clarkson—\"Meaning of Life\"\n Running order \n\nJudges' votes to save\n\nHorwood: Alexandra & Gorka\nBussell: Alexandra & Gorka\nTonioli: Alexandra & Gorka\nBallas: Did not vote, but would have voted to save Alexandra & Gorka\n\nWeek 11: Musicals Week (Quarter-final)\nMusical guests: Leading Ladies (Amber Riley, Beverley Knight, and Cassidy Janson)—\"I'm Every Woman\"\n Running order \n\nJudges' votes to save\n\nHorwood: Alexandra & Gorka\nBussell: Alexandra & Gorka\nTonioli: Alexandra & Gorka\nBallas: Did not vote, but would have voted to save Alexandra & Gorka\n\nWeek 12: Semi-Final\nMusical guest: Craig David and Bastille— \"I Know You\"\nRunning order\n\nFor the Dance Off, Mollie & AJ chose to dance their Waltz, while Gemma & Aljaž chose to dance their Tango.\nJudges' votes to save\n\nHorwood: Gemma & Aljaž\nBussell: Gemma & Aljaž\nTonioli: Gemma & Aljaž\nBallas: Did not vote, but would have voted to save Gemma & Aljaž\n\nWeek 13: Final\nMusical guest: Ed Sheeran—\"Perfect\"\nRunning order\n\nDance chart\n\n Highest scoring dance\n Lowest scoring dance\n\nWeek 1: Cha-Cha-Cha, Foxtrot, Jive, Paso Doble, Tango, Viennese Waltz or Waltz\nWeek 2: One unlearned dance (introducing American Smooth, Charleston, Quickstep and Salsa)\nWeek 3 (Movie Week): One unlearned dance (introducing Rumba and Samba)\nWeeks 4 & 5: One unlearned dance\nWeek 6 (Halloween Week): One unlearned dance\nWeek 7: One unlearned dance\nWeek 8: One unlearned dance (introducing Argentine Tango)\nWeek 9 (Blackpool Week): One unlearned dance\nWeek 10: One unlearned dance and Paso Doble-thon\nWeek 11 (Musicals Week): One unlearned dance\nWeek 12 (Semi-final): Two unlearned dances\nWeek 13 (Final): Judges' choice, showdance and couple's favourite dance\n\nRatings\n\nWeekly ratings for each show on BBC One. All ratings are provided by BARB. The series 15 first live show with 11.04 million viewers is the most watched series debut for the show in its history.\n\nReferences\n\nExternal links\n\n2017 British television seasons\nSeries 15"
]
|
[
"Dimitri Tiomkin",
"High Noon (1952)",
"Did he win any awards for High Noon?",
"The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song.",
"who directed the film?",
"Fred Zinnemann",
"what was the name of the song he won the Best Song award for?",
"\"Do Not Forsake Me, Oh My Darlin'\" (\"The Ballad of High Noon\").",
"did he work with that director again?",
"The composer worked again for Zinnemann on The Sundowners (1960).",
"Was High Noon the only western he scored?",
"Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne;",
"Did he work on any other John Wayne movies?",
"I don't know.",
"Did anything significant happen at this time of his life?",
"According to film historian Arthur R. Jarvis, Jr., the score \"has been credited with saving the movie.\"",
"how did the score save the movie?",
"At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly."
]
| C_65245218f72e4ac4b90c5f7ae11f49f8_0 | why did the movie eventually succeed? | 9 | why did The High and the Mighty eventually succeed? | Dimitri Tiomkin | Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening. According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story. According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)..." The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. CANNOTANSWER | Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. | Dimitri Zinovievich Tiomkin (, Dmitrij Zinov'evič Tjomkin, , Dmytro Zynoviyovyč Tomkin) (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, 55 Days at Peking, Gunfight at the O.K. Corral, and Last Train from Gun Hill.
Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Early life and education
Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).
His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."
Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.
He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day festivities, and The Storming of the Winter Palace for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.
Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and
made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.
He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.
Life in America
In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the US. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.
While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris Opera, with Gershwin in the audience.
After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933). Although Tiomkin worked on some smaller film projects, his goal was to become a concert pianist. In 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.
Working for Frank Capra (1937-1946)
Tiomkin received his first break from Columbia director Frank Capra, who chose him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized US citizen.
In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:
He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the US government to show American soldiers the reason for United States' participation in the war. They were later released to the general US public to generate support for American involvement.
Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
High Noon (1952)
Following his work for Fred Zinnemann on The Men (1950), Tiomkin composed the score for the same director's High Noon (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.
Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.
According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)
The song's lyrics briefly tell High Noons entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.
According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. The Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "
Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.
The composer worked again for Zinnemann on The Sundowners (1960).
Film genres and other associations
Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill (1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."
Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell (1955), The Guns of Navarone (1961), and Town Without Pity (1961); and suspense thrillers such as 36 Hours (1965).
Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston on The Unforgiven (1960), and with Nicholas Ray on 55 Days at Peking (1963).
Television
In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for The Wild Wild West (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.
Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line? and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.
He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film Wild Is the Wind (1957).
Composition styles and significance
Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."
Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.
Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:
Tiomkin alluded to this relationship in his autobiography:
Techniques of composing
Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.
Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.
Tiomkin explains why he took the extra time with actors:
Death and legacy
Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.
During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. In 1952 he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.
He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to It's a Wonderful Life and Giant were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.
Beginning with Lost Horizon in 1937, through his retirement from films in 1979, and until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.
Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including High Noon and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film. For the film Red River his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:
Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.
He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.
A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.
In 1999, the US Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.
In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
The American Film Institute ranked Tiomkin's score for High Noon as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:
The Alamo (1960)
Dial M for Murder (1954)
Duel in the Sun (1946)
Friendly Persuasion (1956)
The Guns of Navarone (1961)
Lost Horizon (1937)
Awards and nominations
Academy Awards
1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for The Fall of the Roman Empire (1964)
1964 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for 55 Days at Peking (1963) for "So Little Time", sung by Andy Williams
1964 - nominated for "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961)
1962 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated (with Paul Francis Webster) for "Best Music, Original Song" for The Alamo (1960) for "The Green Leaves of Summer", sung by The Brothers Four
1961 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The High and Mighty
1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954)
1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter
1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)
Golden Globe Awards
1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961)
1962 for "Best Motion Picture Song" for Town without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)
References
External links
Official site
Dimitri Tiomkin
Dimitri Tiomkin's Golden Decade
Multimedia links
Audio clips, 40 film samples
, audio score compilation by Berny Debney, 10 minutes
Tiomkin on You Bet Your Life in 1955
1894 births
1979 deaths
People from Kremenchuk
People from Poltava Governorate
Ukrainian Jews
Soviet emigrants to the United States
American people of Ukrainian-Jewish descent
American film score composers
American male film score composers
American male conductors (music)
Best Original Song Academy Award-winning songwriters
Best Original Music Score Academy Award winners
Golden Globe Award-winning musicians
Jewish American film score composers
Burials at Forest Lawn Memorial Park (Glendale)
20th-century American conductors (music)
20th-century American composers
20th-century American male musicians
20th-century American Jews | true | [
"\"I'm Here\" is Yuna Ito's seventh single in total, and first of the year 2007, released after her successful debut album \"Heart\", on March 14, 2007, under Studioseven Recordings.\n\nTrack list\n\"I'm Here\"\n\"Reason Why\"\n\"Faith\" (Teardance remix)\n\"I'm Here\" (instrumental)\n\nCharts\nThe single overall did not reach a higher position at the Daily Single Rankings than #10. It eventually fell down and is pending between #13 and #15 since its release. A day after UNFAIR -the movie- was released, it was the only time for the single to be in the Top 10. First week sales have extended to 12,485 units sold, quite a disappointment considering her album \"Heart\" has sold well over 460,000 copies. The Weekly Single Rank is #15 right now.\n\n2007 singles\nYuna Ito songs\n2007 songs\nJapanese film songs",
"My Hero 2 (一本漫畫闖天涯2之妙想天開) is a 1993 Hong Kong comedy film directed by Joe Chu, starring Dicky Cheung and Ng Man Tat. Despite the title, it is not a sequel to the movie \"My Hero (1990)\", starring Stephen Chow.\n\nSynopsis\nThe movie is about Cheung Kin-Hong's (Dicky Cheung) ploy to get a good story involving triads for his comics. He is a comics artist and writer who has not been very successful in the past. Then one day he encounters his hero, Brother Tat (Ng Man-Tat) at his regular cafe. He manages to convince Tat, who happens to be also involved with the triads, to help him get the information he needed for his comics. How did it turn out? Did it help him to succeed?\n\nCast\n\nExternal links\n \n My Hero 2 (1993) at HKCinemagic\n \n\n1990s Cantonese-language films\nHong Kong films\n1993 comedy films\n1993 films\nHong Kong comedy films"
]
|
[
"James Traficant",
"Early life, education, and career"
]
| C_3a9b703758d84ec2bade98289466db50_1 | where was james born | 1 | where was James Traficant born? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | Youngstown, Ohio, | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
Expelled members of the United States House of Representatives
Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
Ohio Democrats
Ohio Independents
Ohio politicians convicted of crimes
Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | true | [
"David John James Monroe (born April 14, 1941) is a Canadian prelate of the Roman Catholic Church. He was ordained Bishop of the Diocese of Kamloops on March 12, 2002, and served in that post until 2016. He was succeeded by Bishop Joseph Phuong Nguyen.\n\nHistory \nDavid John James Monroe was born on April 14, 1941 in Vancouver, BC, where he was also raised and went to school. Monroe completed his secondary school education at St. Patrick's Secondary School.\n\nOrdination \nMonroe attended Christ the King Seminary and was ordained on May 20, 1967, by James Carney at St. Anthony's Church.\n\nDiocese of Kamloops \nOn March 18, 2002, Monroe was installed as the Bishop of Kamloops.\n\nReferences \n\n1941 births\nLiving people\n21st-century Roman Catholic bishops in Canada\nRoman Catholic bishops of Kamloops",
"James Dudley Dewell (September 3, 1837 – April 19, 1906) was an American politician who was the 67th Lieutenant Governor of Connecticut from 1897 to 1899.\n\nJames Dewell was born in Norfolk in Connecticut. He was the third of four children of John and Mary Dewell. His father was born in 1797 and worked as a Scythe Maker. His mother was born in 1804. Later he worked as a Wholesale Grocery Dealer. Since 1860 he was married to Mary E. Keys (1840-1913). The couple had five children. He also owned a schooner named Derwell. He joined the Republican Party and in 1896 he was elected to the office of the lieutenant Governor of Connecticut. In this function he was the deputy of Governor Lorrin A. Cooke and he presided over the Connecticut Senate. His two-year term ended in 1899. James Dewell died in 1906 in New Haven where he had spent the most time of his life.\n\nExternal links\n \n\nLieutenant Governors of Connecticut\n1837 births\n1906 deaths\n19th-century American politicians\nPeople from Norfolk, Connecticut"
]
|
[
"James Traficant",
"Early life, education, and career",
"where was james born",
"Youngstown, Ohio,"
]
| C_3a9b703758d84ec2bade98289466db50_1 | When was he born | 2 | When was James Traficant born? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | CANNOTANSWER | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
Expelled members of the United States House of Representatives
Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
Ohio Democrats
Ohio Independents
Ohio politicians convicted of crimes
Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | false | [
"Since the first human spaceflight by the Soviet Union, citizens of 42 countries have flown in space. For each nationality, the launch date of the first mission is listed. The list is based on the nationality of the person at the time of the launch. Only 3 of the 42 \"first flyers\" have been women (Helen Sharman for the United Kingdom in 1991, Anousheh Ansari for Iran in 2006, and Yi So-yeon for South Korea in 2008). Only three nations (Soviet Union/Russia, U.S., China) have launched their own crewed spacecraft, with the Soviets/Russians and the American programs providing rides to other nations' astronauts. Twenty-seven \"first flights\" occurred on Soviet or Russian flights while the United States carried fourteen.\n\nTimeline\nNote: All dates given are UTC. Countries indicated in bold have achieved independent human spaceflight capability.\n\nNotes\n\nOther claims\nThe above list uses the nationality at the time of launch. Lists with differing criteria might include the following people:\n Pavel Popovich, first launched 12 August 1962, was the first Ukrainian-born man in space. At the time, Ukraine was a part of the Union of Soviet Socialist Republics.\n Michael Collins, first launched 18 July 1966 was born in Italy to American parents and was an American citizen when he went into space.\n William Anders, American citizen, first launched 21 December 1968, was the first Hong Kong-born man in space.\n Vladimir Shatalov, first launched 14 January 1969, was the first Kazakh-born man in space. At the time, Kazakhstan was a part of the Union of Soviet Socialist Republics.\n Bill Pogue, first launched 16 November 1973, as an inductee to the 5 Civilized Tribes Hall of Fame can lay claim to being the first Native American in space. See John Herrington below regarding technicality of tribal registration.\n Pyotr Klimuk, first launched 18 December 1973, was the first Belorussian-born man in space. At the time, Belarus was a part of the Union of Soviet Socialist Republics.\n Vladimir Dzhanibekov, first launched 16 March 1978, was the first Uzbek-born man in space. At the time, Uzbekistan was a part of the Union of Soviet Socialist Republics.\n Paul D. Scully-Power, first launched 5 October 1984, was born in Australia, but was an American citizen when he went into space; Australian law at the time forbade dual-citizenship.\n Taylor Gun-Jin Wang, first launched 29 April 1985, was born in China to Chinese parents, but was an American citizen when he went into space.\n Lodewijk van den Berg, launched 29 April 1985, was born in the Netherlands, but was an American citizen when he went into space.\n Patrick Baudry, first launched 17 June 1985, was born in French Cameroun (now part of Cameroon), but was a French citizen when he went into space.\n Shannon Lucid, first launched 17 June 1985, was born in China to American parents of European descent, and was an American citizen when she went into space.\n Franklin Chang-Diaz, first launched 12 January 1986, was born in Costa Rica, but was an American citizen when he went into space\n Musa Manarov, first launched 21 December 1987, was the first Azerbaijan-born man in space. At the time, Azerbaijan was a part of the Union of Soviet Socialist Republics.\n Anatoly Solovyev, first launched 7 June 1988, was the first Latvian-born man in space. At the time, Latvia was a part of the Union of Soviet Socialist Republics.\n Sergei Konstantinovich Krikalev and Aleksandr Aleksandrovich Volkov became Russian rather than Soviet citizens while still in orbit aboard Mir, making them the first purely Russian citizens in space.\n James H. Newman, American citizen, first launched 12 September 1993, was born in the portion of the United Nations Trust Territory of the Pacific Islands that is now the Federated States of Micronesia.\n Talgat Musabayev, first launched 1 July 1994, was born in the Kazakh SSR and is known in Kazakhstan as the \"first cosmonaut of independent Kazakhstan\", but was a Russian citizen when he went into space.\n Frederick W. Leslie, American citizen, launched 20 October 1995, was born in Panama Canal Zone (now Panama).\n Andy Thomas, first launched 19 May 1996, was born in Australia but like Paul D. Scully-Power was an American citizen when he went to space; Australian law at the time forbade dual-citizenship.\n Carlos I. Noriega, first launched 15 May 1997, was born in Peru, but was an American citizen when he went into space.\n Bjarni Tryggvason, launched 7 August 1997, was born in Iceland, but was a Canadian citizen when he went into space.\n Salizhan Sharipov, first launched 22 January 1998, was born in Kyrgyzstan (then the Kirghiz SSR), but was a Russian citizen when he went into space. Sharipov is of Uzbek ancestry.\n Philippe Perrin, first launched 5 June 2002, was born in Morocco, but was a French citizen when he went into space.\n John Herrington, an American citizen first launched 24 November 2002, is the first tribal registered Native American in space (Chickasaw). See also Bill Pogue above.\n Fyodor Yurchikhin, first launched 7 October 2002, was born in Georgia (then the Georgian SSR). He was a Russian citizen at the time he went into space and is of Pontian Greek descent.\n Joseph M. Acaba, first launched 15 March 2009, was born in the U.S. state of California to American parents of Puerto Rican descent.\n\nGallery\n\nReferences\n\nExternal links\nCurrent Space Demographics, compiled by William Harwood, CBS News Space Consultant, and Rob Navias, NASA.\n\nLists of firsts in space\nSpaceflight timelines",
"This is a list of notable books by young authors and of books written by notable writers in their early years. These books were written, or substantially completed, before the author's twentieth birthday. \n\nAlexandra Adornetto (born 18 April 1994) wrote her debut novel, The Shadow Thief, when she was 13. It was published in 2007. Other books written by her as a teenager are: The Lampo Circus (2008), Von Gobstopper's Arcade (2009), Halo (2010) and Hades (2011).\nMargery Allingham (1904–1966) had her first novel, Blackkerchief Dick, about smugglers in 17th century Essex, published in 1923, when she was 19.\nJorge Amado (1912–2001) had his debut novel, The Country of Carnival, published in 1931, when he was 18.\nPrateek Arora wrote his debut novel Village 1104 at the age of 16. It was published in 2010.\nDaisy Ashford (1881–1972) wrote The Young Visiters while aged nine. This novella was first published in 1919, preserving her juvenile punctuation and spelling. An earlier work, The Life of Father McSwiney, was dictated to her father when she was four. It was published almost a century later in 1983.\nAmelia Atwater-Rhodes (born 1984) had her first novel, In the Forests of the Night, published in 1999. Subsequent novels include Demon in My View (2000), Shattered Mirror (2001), Midnight Predator (2002), Hawksong (2003) and Snakecharm (2004).\nJane Austen (1775–1817) wrote Lady Susan, a short epistolary novel, between 1793 and 1795 when she was aged 18-20.\nRuskin Bond (born 1934) wrote his semi-autobiographical novel The Room on the Roof when he was 17. It was published in 1955.\nMarjorie Bowen (1885–1952) wrote the historical novel The Viper of Milan when she was 16. Published in 1906 after several rejections, it became a bestseller.\nOliver Madox Brown (1855–1874) finished his novel Gabriel Denver in early 1872, when he was 17. It was published the following year.\nPamela Brown (1924–1989) finished her children's novel about an amateur theatre company, The Swish of the Curtain (1941), when she was 16 and later wrote other books about the stage.\nCeleste and Carmel Buckingham wrote The Lost Princess when they were 11 and 9.\nFlavia Bujor (born 8 August 1988) wrote The Prophecy of the Stones (2002) when she was 13.\nLord Byron (1788–1824) published two volumes of poetry in his teens, Fugitive Pieces and Hours of Idleness.\nTaylor Caldwell's The Romance of Atlantis was written when she was 12.\n (1956–1976), Le Don de Vorace, was published in 1974.\nHilda Conkling (1910–1986) had her poems published in Poems by a Little Girl (1920), Shoes of the Wind (1922) and Silverhorn (1924).\nAbraham Cowley (1618–1667), Tragicall History of Piramus and Thisbe (1628), Poetical Blossoms (published 1633).\nMaureen Daly (1921–2006) completed Seventeenth Summer before she was 20. It was published in 1942.\nJuliette Davies (born 2000) wrote the first book in the JJ Halo series when she was eight years old. The series was published the following year.\nSamuel R. Delany (born 1 April 1942) published his The Jewels of Aptor in 1962.\nPatricia Finney's A Shadow of Gulls was published in 1977 when she was 18. Its sequel, The Crow Goddess, was published in 1978.\nBarbara Newhall Follett (1914–1939) wrote her first novel The House Without Windows at the age of eight. The manuscript was destroyed in a house fire and she later retyped her manuscript at the age of 12. The novel was published by Knopf publishing house in January 1927.\nFord Madox Ford (né Hueffer) (1873–1939) published in 1892 two children's stories, The Brown Owl and The Feather, and a novel, The Shifting of the Fire.\nAnne Frank (1929–1945) wrote her diary for two-and-a-half years starting on her 13th birthday. It was published posthumously as Het Achterhuis in 1947 and then in English translation in 1952 as Anne Frank: The Diary of a Young Girl. An unabridged translation followed in 1996.\nMiles Franklin wrote My Brilliant Career (1901) when she was a teenager.\nAlec Greven's How to Talk to Girls was published in 2008 when he was nine years old. Subsequently he has published How to Talk to Moms, How to Talk to Dads and How to Talk to Santa.\nFaïza Guène (born 1985) had Kiffe kiffe demain published in 2004, when she was 19. It has since been translated into 22 languages, including English (as Kiffe Kiffe Tomorrow).\nSonya Hartnett (born 1968) was thirteen years old when she wrote her first novel, Trouble All the Way, which was published in Australia in 1984.\nAlex and Brett Harris wrote the best-selling book Do Hard Things (2008), a non-fiction book challenging teenagers to \"rebel against low expectations\", at age 19. Two years later came a follow-up book called Start Here (2010).\nGeorgette Heyer (1902–1974) wrote The Black Moth when she was 17 and received a publishing contract when she was 18. It was published just after she turned 19.\nSusan Hill (born 1942), The Enclosure, published in 1961.\nS. E. Hinton (born 1948), The Outsiders, first published in 1967.\nPalle Huld (1912–2010) wrote A Boy Scout Around the World (Jorden Rundt i 44 dage) when he was 15, following a sponsored journey around the world.\nGeorge Vernon Hudson (1867–1946) completed An Elementary Manual of New Zealand Entomology at the end of 1886, when he was 19, but not published until 1892.\nKatharine Hull (1921–1977) and Pamela Whitlock (1920–1982) wrote the children's outdoor adventure novel The Far-Distant Oxus in 1937. It was followed in 1938 by Escape to Persia and in 1939 by Oxus in Summer.\nLeigh Hunt (1784–1859) published Juvenilia; or, a Collection of Poems Written between the ages of Twelve and Sixteen by J. H. L. Hunt, Late of the Grammar School of Christ's Hospital in March 1801.\nKody Keplinger (born 1991) wrote her debut novel The DUFF when she was 17.\nGordon Korman (born 1963), This Can't Be Happening at Macdonald Hall (1978), three sequels, and I Want to Go Home (1981).\nMatthew Gregory Lewis (1775–1818) wrote the Gothic novel The Monk, now regarded as a classic of the genre, before he was twenty. It was published in 1796.\nNina Lugovskaya (1918–1993), a painter, theater director and Gulag survivor, kept a diary in 1932–37, which shows strong social sensitivities. It was found in the Russian State Archives and published 2003. It appeared in English in the same year.\nJoyce Maynard (born 1953) completed Looking Back while she was 19. It was first published in 1973.\nMargaret Mitchell (1900–1949) wrote her novella Lost Laysen at the age of fifteen and gave the two notebooks containing the manuscript to her boyfriend, Henry Love Angel. The novel was published posthumously in 1996.\nBen Okri, the Nigerian poet and novelist, (born 1959) wrote his first book Flowers and Shadows while he was 19.\nAlice Oseman(born 1994) wrote the novel Solitaire when she was 17 and it was published in 2014.\nHelen Oyeyemi (born 1984) completed The Icarus Girl while still 18. First published in 2005.\nChristopher Paolini (born 1983) had Eragon, the first novel of the Inheritance Cycle, first published 2002.\nEmily Pepys (1833–1877), daughter of a bishop, wrote a vivid private journal over six months of 1844–45, aged ten. It was discovered much later and published in 1984.\nAnya Reiss (born 1991) wrote her play Spur of the Moment when she was 17. It was both performed and published in 2010, when she was 18.\nArthur Rimbaud (1854–1891) wrote almost all his prose and poetry while still a teenager, for example Le Soleil était encore chaud (1866), Le Bateau ivre (1871) and Une Saison en Enfer (1873).\nJohn Thomas Romney Robinson (1792–1882) saw his juvenile poems published in 1806, when he was 13.\nFrançoise Sagan (1935–2004) had Bonjour tristesse published in 1954, when she was 18.\nMary Shelley (1797–1851) completed Frankenstein; or, The Modern Prometheus during May 1817, when she was 19. It was first published in the following year.\nMattie Stepanek (1990–2004), an American poet, published seven best-selling books of poetry.\nJohn Steptoe (1950–1989), author and illustrator, began his picture book Stevie at 16. It was published in 1969 in Life.\nAnna Stothard (born 1983) saw her Isabel and Rocco published when she was 19.\nDorothy Straight (born 1958) in 1962 wrote How the World Began, which was published by Pantheon Books in 1964. She holds the Guinness world record for the youngest female published author.\nJalaluddin Al-Suyuti (c. 1445–1505) wrote his first book, Sharh Al-Isti'aadha wal-Basmalah, at the age of 17.\nF. J. Thwaites (1908–1979) wrote his bestselling novel The Broken Melody when he was 19.\nJohn Kennedy Toole (1937–1969) wrote The Neon Bible in 1954 when he was 16. It was not published until 1989.\nAlec Waugh (1898–1981) wrote his novel about school life, The Loom of Youth, after leaving school. It was published in 1917.\nCatherine Webb (born 1986) had five young adult books published before she was 20: Mirror Dreams (2002), Mirror Wakes (2003), Waywalkers (2003), Timekeepers (2004) and The Extraordinary and Unusual Adventures of Horatio Lyle (February 2006).\nNancy Yi Fan (born 1993) published her debut Swordbird when she was 12. Other books she published as a teenager include Sword Quest (2008) and Sword Mountain (2012).\nKat Zhang (born 1991) was 20 when she sold, in a three-book deal, her entire Hybrid Chronicles trilogy. The first book, What's Left of Me, was published 2012.\n\nSee also \nLists of books\n\nReferences \n\nBooks Written By Children and Teenagers\nbooks\nChildren And Teenagers, Written By\nChi"
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"where was james born",
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"I don't know."
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| C_3a9b703758d84ec2bade98289466db50_1 | who were his parents | 3 | who were James Traficant's parents? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | Agnes (nee Farkas) and James Anthony Traficant Sr. | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
Expelled members of the United States House of Representatives
Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
Ohio Democrats
Ohio Independents
Ohio politicians convicted of crimes
Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | false | [
"The Extraordinary Tale of Nicholas Pierce is a 2011 adventure novel written by Alexander DeLuca. It follows the journey of a university teacher Nicholas Pierce, who suffers from obsessive compulsive disorder as he searches for his biological parents, traveling across states in the United States of America. He travels with a friend, who is an eccentric barista in a cafe in upstate New York, named Sergei Tarasov.\n\nPlot\nNicholas Pierce suffers from OCD. He is also missing the memory of the first five years of his life. Raised by adoptive parents, one day he receives a mysterious box from an \"Uncle Nathan\". Curious, he sets off on a journey to find his biological parents with a Russian friend, Sergei Tarasov. On the trip, they meet several people, face money problems and different challenges. They also pick up a hitchhiker, Jessica, who later turns out to be a criminal.\n\nFinally, Nicholas finds his grandparents, who direct him to his biological parents. When he meets them, he finds out that his vaguely registered biological 'parents' were actually neighbors of his real parents who had died in an accident. The mysterious box that he had received is destroyed. He finds out that it contained photographs from his early life.\n\n2011 American novels\nNovels about obsessive–compulsive disorder",
"Bomba and the Jungle Girl is a 1952 adventure film directed by Ford Beebe and starring Johnny Sheffield. It is the eighth film (of 12) in the Bomba, the Jungle Boy film series.\n\nPlot\nBomba decides to find out who his parents were. He starts with Cody Casson's diary and follows the trail to a native village. An ancient blind woman tells him his parents, along the village's true ruler, were murdered by the current chieftain and his daughter. With the aid of an inspector and his daughter, Bomba battles the usurpers in the cave where his parents were buried.\n\nCast\nJohnny Sheffield\nKaren Sharpe\nWalter Sande\nSuzette Harbin\nMartin Wilkins\nMorris Buchanan\nLeonard Mudie\nDon Blackman.\n\nReferences\n\nExternal links\n\n1952 films\nAmerican films\nAmerican adventure films\nFilms directed by Ford Beebe\nFilms produced by Walter Mirisch\nMonogram Pictures films\n1952 adventure films\nAmerican black-and-white films"
]
|
[
"James Traficant",
"Early life, education, and career",
"where was james born",
"Youngstown, Ohio,",
"When was he born",
"I don't know.",
"who were his parents",
"Agnes (nee Farkas) and James Anthony Traficant Sr."
]
| C_3a9b703758d84ec2bade98289466db50_1 | did he have siblings | 4 | did James Traficant have siblings? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | CANNOTANSWER | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
Expelled members of the United States House of Representatives
Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
Ohio Democrats
Ohio Independents
Ohio politicians convicted of crimes
Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | false | [
"Kayin Maunghnama (; ) are two traditional Karen nats, named San Sae Phoe and Naw Mu Phan, who are believed to live in Mount Zwegabin, Hpa-An, Kayin State.\n\nLegend\nAccording to local legends, a Karen man Saw Phar Thant and his wife Naw Phaw Ya had two children named San Sae Phoe and Naw Mu Phan. After years of saving and honestly collecting all the hard-earned money, he needed to initiate his son into the Buddhist order and to make a big donation. While he was working in the farm, he died after being bitten by a tiger due to bad luck. After the death of Saw Phar Thant, Naw Phaw Ya was left a widow with two children. And then she remarried with Saw Phar Pug, a widower from the same village. At that time, two innocent siblings, San Sae Po and Naw Mu Phan, were full of fear and anxiety. Anxiety and pain overwhelmed them. The quiet little house was full of swearing and shouting. The two siblings burst into tears under the angry and violent insults of their stepfather. \n\nOne day, the stepfather took two siblings to the farm and pushed them down a steep cliff on the way to the farm and returned home alone. Two brothers and sisters fell from the mountain and prayed for Zwegabin Pagoda to be saved so they survived by lying on a bamboo tree under the cliff without dying. The two siblings returned to their mother in almost dawn and told her all about it. Their mother, Naw Phaw Ya was sad and cried. However, when it was not possible to bring the two children back home, she hid them in a forest cave on Mount Zwegabin to keep them safe. The two siblings did not dare go far from the forest cave that their mother left behind. Everywhere they looked in the forest was dark. It was a place they had never been to before, where they could only hear the sounds of wild animals. The younger sister did not know anything so the elder brother had to take care of her. One day morning two siblings made a campfire in the cold weather and a weizza-hermit came to them and greets two siblings. And then he was given three golden pills and forced to go down into the fire, transforming into a young man and a young woman. The two siblings gained the power of influence. They took care Pagoda as promised to hermit, Work diligently for the sake of the Dhamma and all those who believe in the Dhamma and all those who come to the Mount Zwegabin to pray the Pagoda that you will be took care of them, two siblings. \n\nThe Kayin Maunghnama shrine was built about 50 years ago by Sayadaw U Kay Tu of Naung Ein Saing at the foot of Mount Zwegabin. Zwegabin Sayadaw U Kawidaza was also a pilgrimage resort. The Lumbini Garden has also been remodeled to make it more memorable.\n\nReferences\n\nBurmese nats\nBurmese goddesses",
"(1548 – September 19, 1603) was a Japanese samurai of the Sengoku through early Edo period. He is believed to have been the illegitimate son of Matsudaira Hirotada of Okazaki, and therefore the half-brother of Tokugawa Ieyasu. He known as Matsudaira Saburo Goro Iemoto.\n\nFamily\n Father: Matsudaira Hirotada\n Half-siblings:\n Tokugawa Ieyasu\n Naito Nobunari\n Matsudaira Tadamasa (1544-1591)\n Shooko Eike\n Matsudaira Chikayoshi\n Natural Siblings:\nIchibahime (d.1593) married Arakawa Yoshihiro\n Yadahime married Matsudaira Yasutada\n\n1548 births\n1603 deaths\nSamurai"
]
|
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"James Traficant",
"Early life, education, and career",
"where was james born",
"Youngstown, Ohio,",
"When was he born",
"I don't know.",
"who were his parents",
"Agnes (nee Farkas) and James Anthony Traficant Sr.",
"did he have siblings",
"I don't know."
]
| C_3a9b703758d84ec2bade98289466db50_1 | where did he go to school? | 5 | where did James Traficant go to school? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | Traficant graduated from Cardinal Mooney High School in 1959 | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
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Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
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Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | true | [
"Where Did We Go Wrong may refer to:\n \"Where Did We Go Wrong\" (Dondria song), 2010\n \"Where Did We Go Wrong\" (Toni Braxton and Babyface song), 2013\n \"Where Did We Go Wrong\", a song by Petula Clark from the album My Love\n \"Where Did We Go Wrong\", a song by Diana Ross from the album Ross\n \"Where Did We Go Wrong\", a 1980 song by Frankie Valli",
"California Concordia College existed in Oakland, California, United States from 1906 until 1973.\n\nAmong the presidents of California Concordia College was Johann Theodore Gotthold Brohm Jr.\n\nCalifornia Concordia College and the Academy of California College were located at 2365 Camden Street, Oakland, California. Some of the school buildings still exist at this location, but older buildings that housed the earlier classrooms and later the dormitories are gone. The site is now the location of the Spectrum Center Camden Campus, a provider of special education services.\n\nThe \"Academy\" was the official name for the high school. California Concordia was a six-year institution patterned after the German gymnasium. This provided four years of high school, plus two years of junior college. Years in the school took their names from Latin numbers and referred to the years to go before graduation. The classes were named:\n\n Sexta - 6 years to go; high school freshman\n Qunita - 5 years to go; high school sophomore\n Quarta - 4 years to go; high school junior\n Tertia - 3 years to go; high school senior\n Secunda - 2 years to go; college freshman\n Prima - 1 year to go; college sophomore\n\nThose in Sexta were usually hazed in a mild way by upperclassmen. In addition, those in Sexta were required to do a certain amount of clean-up work around the school, such as picking up trash.\n\nMost students, even high school freshmen, lived in dormitories. High school students were supervised by \"proctors\" (selected high school seniors in Tertia). High school students were required to study for two hours each night in their study rooms from 7:00 to 9:00 pm. Students could not leave their rooms for any reason without permission. This requirement came as quite a shock to those in Sexta (freshmen) on their first night, when they were caught and scolded by a proctor when they left their study room to go to the bathroom without permission. Seniors (those in Tertia) were allowed one night off where they did not need to be in their study hall.\n\nFrom 9:00 to 9:30 pm all students gathered for a chapel service. From 9:30 to 10 pm, high school students were free to roam, and sometimes went to the local Lucky Supermarket to purchase snacks. All high school students were required to be in bed with lights out by 10:00 pm. There were generally five students in each dormitory room. The room had two sections: a bedroom area and (across the hallway) another room for studying. Four beds, including at least one bunk bed, were in the bedroom, and four or five desks were in the study room\n\nA few interesting words used by Concordia students were \"fink\" and \"rack.\" To \"fink\" meant to \"sing like a canary\" or \"squeal.\" A student who finked told everything he knew about a misbehavior committed by another student. \"Rack\" was actually an official term used by proctors and administrators who lived on campus in the dormitories with students. When students misbehaved they were racked (punished). Proctors held a meeting once a week and decided which students, if any, deserved to be racked. If a student were racked, he might be forbidden from leaving the campus grounds, even during normal free time School hours were from 7:30 am to 3:30 pm. After 3:30 pm and until 7:00 pm, students could normally explore the local area surrounding the school, for example, to go to a local store to buy a snack. However, if a student were racked for the week, he could not do so.\n\nProctors made their rounds in the morning to make sure beds were made and inspected rooms in the evening to ensure that students were in bed by 10:00 pm. Often after the proctors left a room at night, the room lights would go back on and students enjoyed studying their National Geographic magazines. Student might be racked if they failed to make their beds or did not make them neatly enough.\n\nAlthough California Concordia College no longer exists, it does receive some recognition by Concordia University Irvine. This is also the location of its old academic records.\n\nSources\n\nExternal links \n Photos of old campus\n\nEducational institutions disestablished in 1973\nDefunct private universities and colleges in California\nEducational institutions established in 1906\n1906 establishments in California\n1973 disestablishments in California\nUniversities and colleges affiliated with the Lutheran Church–Missouri Synod"
]
|
[
"James Traficant",
"Early life, education, and career",
"where was james born",
"Youngstown, Ohio,",
"When was he born",
"I don't know.",
"who were his parents",
"Agnes (nee Farkas) and James Anthony Traficant Sr.",
"did he have siblings",
"I don't know.",
"where did he go to school?",
"Traficant graduated from Cardinal Mooney High School in 1959"
]
| C_3a9b703758d84ec2bade98289466db50_1 | did he go to college? | 6 | did James Traficant go to college? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | the University of Pittsburgh in 1963. | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
Expelled members of the United States House of Representatives
Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
Ohio Democrats
Ohio Independents
Ohio politicians convicted of crimes
Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | true | [
"California Concordia College existed in Oakland, California, United States from 1906 until 1973.\n\nAmong the presidents of California Concordia College was Johann Theodore Gotthold Brohm Jr.\n\nCalifornia Concordia College and the Academy of California College were located at 2365 Camden Street, Oakland, California. Some of the school buildings still exist at this location, but older buildings that housed the earlier classrooms and later the dormitories are gone. The site is now the location of the Spectrum Center Camden Campus, a provider of special education services.\n\nThe \"Academy\" was the official name for the high school. California Concordia was a six-year institution patterned after the German gymnasium. This provided four years of high school, plus two years of junior college. Years in the school took their names from Latin numbers and referred to the years to go before graduation. The classes were named:\n\n Sexta - 6 years to go; high school freshman\n Qunita - 5 years to go; high school sophomore\n Quarta - 4 years to go; high school junior\n Tertia - 3 years to go; high school senior\n Secunda - 2 years to go; college freshman\n Prima - 1 year to go; college sophomore\n\nThose in Sexta were usually hazed in a mild way by upperclassmen. In addition, those in Sexta were required to do a certain amount of clean-up work around the school, such as picking up trash.\n\nMost students, even high school freshmen, lived in dormitories. High school students were supervised by \"proctors\" (selected high school seniors in Tertia). High school students were required to study for two hours each night in their study rooms from 7:00 to 9:00 pm. Students could not leave their rooms for any reason without permission. This requirement came as quite a shock to those in Sexta (freshmen) on their first night, when they were caught and scolded by a proctor when they left their study room to go to the bathroom without permission. Seniors (those in Tertia) were allowed one night off where they did not need to be in their study hall.\n\nFrom 9:00 to 9:30 pm all students gathered for a chapel service. From 9:30 to 10 pm, high school students were free to roam, and sometimes went to the local Lucky Supermarket to purchase snacks. All high school students were required to be in bed with lights out by 10:00 pm. There were generally five students in each dormitory room. The room had two sections: a bedroom area and (across the hallway) another room for studying. Four beds, including at least one bunk bed, were in the bedroom, and four or five desks were in the study room\n\nA few interesting words used by Concordia students were \"fink\" and \"rack.\" To \"fink\" meant to \"sing like a canary\" or \"squeal.\" A student who finked told everything he knew about a misbehavior committed by another student. \"Rack\" was actually an official term used by proctors and administrators who lived on campus in the dormitories with students. When students misbehaved they were racked (punished). Proctors held a meeting once a week and decided which students, if any, deserved to be racked. If a student were racked, he might be forbidden from leaving the campus grounds, even during normal free time School hours were from 7:30 am to 3:30 pm. After 3:30 pm and until 7:00 pm, students could normally explore the local area surrounding the school, for example, to go to a local store to buy a snack. However, if a student were racked for the week, he could not do so.\n\nProctors made their rounds in the morning to make sure beds were made and inspected rooms in the evening to ensure that students were in bed by 10:00 pm. Often after the proctors left a room at night, the room lights would go back on and students enjoyed studying their National Geographic magazines. Student might be racked if they failed to make their beds or did not make them neatly enough.\n\nAlthough California Concordia College no longer exists, it does receive some recognition by Concordia University Irvine. This is also the location of its old academic records.\n\nSources\n\nExternal links \n Photos of old campus\n\nEducational institutions disestablished in 1973\nDefunct private universities and colleges in California\nEducational institutions established in 1906\n1906 establishments in California\n1973 disestablishments in California\nUniversities and colleges affiliated with the Lutheran Church–Missouri Synod",
"Kyree Walker (born November 20, 2000) is an American professional basketball player for the Capital City Go-Go of the NBA G League. At the high school level, he played for Moreau Catholic High School in Hayward, California before transferring to Hillcrest Prep Academy. A former MaxPreps National Freshman of the Year, Walker was a five-star recruit.\n\nEarly life and high school career\nIn eighth grade, Walker drew national attention for his slam dunks in highlight videos. He often faced older competition, including high school seniors, in middle school with his Amateur Athletic Union (AAU) team Oakland Soldiers. As a high school freshman, Walker played basketball for Moreau Catholic High School in Hayward, California, averaging 21.3 points, 6.5 rebounds and four assists per game. After leading his team to a California Interscholastic Federation Division II runner-up finish, he was named MaxPreps National Freshman of the Year. Entering his sophomore season, Walker transferred to Hillcrest Prep, a basketball program in Phoenix, Arizona, with his father, Khari, joining the coaching staff. On October 25, 2019, during his senior year, he left Hillcrest Prep, intending to move to the college or professional level. In December 2019, Walker graduated from high school but did not play high school basketball while weighing his options.\n\nRecruiting\nOn June 30, 2017, Walker committed to play college basketball for Arizona State over several other NCAA Division I offers. At the time, he was considered a five-star recruit and a top five player in the 2020 class by major recruiting services. On October 21, 2018, Walker decommitted from Arizona State. On April 20, 2020, as a four-star recruit, he announced that he would forego college basketball.\n\nProfessional career\n\nCapital City Go-Go (2021–present)\nWalker joined Chameleon BX to prepare for the 2021 NBA draft. For the 2021-22 season, he signed with the Capital City Go-Go of the NBA G League, joining the team after a successful tryout.\n\nPersonal life\nIn 2018, Walker's mother, Barrissa Gardner, was diagnosed with breast cancer but achieved remission in the following months.\n\nReferences\n\n2000 births\nLiving people\n21st-century African-American sportspeople\nAfrican-American basketball players\nAmerican men's basketball players\nBasketball players from Oakland, California\nCapital City Go-Go players\nSmall forwards\nTwitch (service) streamers"
]
|
[
"James Traficant",
"Early life, education, and career",
"where was james born",
"Youngstown, Ohio,",
"When was he born",
"I don't know.",
"who were his parents",
"Agnes (nee Farkas) and James Anthony Traficant Sr.",
"did he have siblings",
"I don't know.",
"where did he go to school?",
"Traficant graduated from Cardinal Mooney High School in 1959",
"did he go to college?",
"the University of Pittsburgh in 1963."
]
| C_3a9b703758d84ec2bade98289466db50_1 | did he get a degree? | 7 | did James Traficant get a degree? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | the University of Pittsburgh in 1963. | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
Expelled members of the United States House of Representatives
Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
Ohio Democrats
Ohio Independents
Ohio politicians convicted of crimes
Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | true | [
"Karl Brill was an American football player. He played at the tackle position for the Harvard Crimson football team in 1904 and 1905 and was selected as a first-team All-American in 1905. As a sophomore in December 1905, Brill announced that he would not continue playing football. He said, \"I came to Harvard to get a degree as a mining engineer. For the last two years 'Varsity football has played havoc with my studies. Already I have been forced to drop work in my freshman and sophomore years. If I play football again it means that I shall fail to get my degree in four years, and I cannot afford a fifth. It's either play football and fail to get a degree or abandon the gridiron and get a degree.\" In addition to the toll the game had taken on his studies, Bill denounced football on moral grounds, stating that the human body was not mean to withstand the strain that football demands and adding, \"I don't believe the game is right. I dislike it on moral grounds. It is a mere gladiatorial combat. It is brutal throughout.\"\n\nReferences\n\nAll-American college football players\nAmerican football tackles\nHarvard Crimson football players",
"How Did This Get Made? is a comedy podcast on the Earwolf network hosted by Paul Scheer, June Diane Raphael, and Jason Mantzoukas.\n\nGenerally, How Did This Get Made? is released every two weeks. During the show's off-week, a \".5\" episode is uploaded featuring Scheer announcing the next week's movie, as well as challenges for the fans. In addition to the shows and mini-shows, the How Did This Get Made? stream hosted the first three episodes of Bitch Sesh, the podcast of previous guests Casey Wilson and Danielle Schneider, in December 2015. It has also hosted episodes of its own spin-off podcast, the How Did This Get Made? Origin Stories, in which Blake Harris interviews people involved with the films covered by the main show. In December 2017, an episode was recorded for the Pee Cast Blast event, and released exclusively on Stitcher Premium.\n\nEvery episode has featured Paul Scheer as the host of the podcast. The only episode to date in which Scheer hosted remotely was The Smurfs, in which he Skyped in. Raphael has taken extended breaks from the podcast for both filming commitments and maternity leave. Mantzoukas has also missed episodes due to work, but has also Skyped in for various episodes. On the occasions that neither Raphael nor Mantzoukas are available for live appearances, Scheer calls in previous fan-favorite guests for what is known as a How Did This Get Made? All-Stars episode.\n\nList of episodes\n\nMini episodes\n\nReferences\n\nExternal links \n List of How Did This Get Made? episodes\n\nHow Did This Get Made\nHow Did This Get Made"
]
|
[
"James Traficant",
"Early life, education, and career",
"where was james born",
"Youngstown, Ohio,",
"When was he born",
"I don't know.",
"who were his parents",
"Agnes (nee Farkas) and James Anthony Traficant Sr.",
"did he have siblings",
"I don't know.",
"where did he go to school?",
"Traficant graduated from Cardinal Mooney High School in 1959",
"did he go to college?",
"the University of Pittsburgh in 1963.",
"did he get a degree?",
"the University of Pittsburgh in 1963."
]
| C_3a9b703758d84ec2bade98289466db50_1 | What degree? | 8 | What degree did James Traficant receive at the University of Pittsburgh? | James Traficant | Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER | CANNOTANSWER | James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence.
Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976.
At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.
In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.
Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition.
In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion.
U.S. House of Representatives
While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held.
Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers.
After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment.
Defense of John Demjanjuk
Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction.
Defense of Arthur Rudolph
Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred.
Trial and expulsion
In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics.
Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal.
After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan.
Prison and later life
Incarceration
Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation.
While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke.
Release
Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office.
On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers.
2010 congressional campaign
In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%.
Post-prison life
After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics.
Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve.
Accident and death
Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well."
By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident.
A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated.
A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him.
Publications
See also
Pat Tillman
Paul Wellstone
List of United States representatives from Ohio
List of United States representatives expelled, censured, or reprimanded
List of American federal politicians convicted of crimes
List of federal political scandals in the United States
References
External links
"Look at what Traficant swept under the rug" – CNN, August 1, 2002
Traficant quarterbacking Pitt over Navy
Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA
James Traficant - A Tribute (Video) by Mike Wayne
|-
1941 births
2014 deaths
20th-century American politicians
21st-century American non-fiction writers
21st-century American politicians
21st-century American male writers
Accidental deaths in Ohio
Activists from Ohio
American anti–illegal immigration activists
American football quarterbacks
American male non-fiction writers
American people convicted of tax crimes
American people of Hungarian descent
American politicians of Italian descent
American political writers
American talk radio hosts
Candidates in the 1988 United States presidential election
Deaths from asphyxiation
Democratic Party members of the United States House of Representatives
Democratic Party members of the United States House of Representatives from Ohio
Expelled members of the United States House of Representatives
Farming accident deaths
Members of the United States Congress stripped of committee assignment
Members of the United States House of Representatives from Ohio
Monetary reformers
Ohio Democrats
Ohio Independents
Ohio politicians convicted of crimes
Ohio sheriffs
Pittsburgh Panthers football players
Politicians convicted of bribery under 18 U.S.C. § 201
Politicians convicted of conspiracy to defraud the United States
Politicians convicted of illegal gratuities under 18 U.S.C. § 201
Politicians from Youngstown, Ohio
Prisoners and detainees of the United States federal government
University of Pittsburgh alumni
Writers from Youngstown, Ohio
Youngstown State University alumni | false | [
"What Degree? Which University? is a student-run university website that profiles the major Australian tertiary education institutions and their degree programs with advice on the university experience.\n\nCategories \nThe What Degree? and Which Uni? sections of the website provide information on Australian universities and their degree programs, along with profiles of current and former students who are currently or have formerly been enrolled in degree programs at particular institutions.\n\nThe website also provides articles and information on student life, student housing, and graduate opportunities for university leavers through the Lifestyle, Student Housing, Survival Guide and After Uni sections.\n\nHistory \nThe creator of What Degree? Which University? is David Handley, the founding director of international sculpture exhibition, Sculpture by the Sea. Handley first conceptualised What Degree? Which University? whilst studying his final year of Law at the University of Sydney.\n\nIn 1988, What Degree? Which University? took form through university seminars held at the University of Sydney, allowing prospective students to compare degree options by hearing current and former students of undergraduate degree programs discuss their studying experiences.\n\nHandley resurrected the concept in 2010 with the help of a team of undergraduate students, and launched What Degree? Which University? as a website in August 2011. Six months after its launch, What Degree? Which University? had attracted more than 22,000 visitors and expanded to provide information about universities across Australia.\n\nPresent \nToday, the website covers 23 Australian universities and is staffed by 17 undergraduate and postgraduate students. What Degree? Which University? claims to have had 77,500 visits to the website (55,000 of which being unique visitors) and 450,000 page visits.\n\nReferences\n\nExternal links\n \n\nAustralian educational websites\nInternet properties established in 2011\n2011 establishments in Australia",
"360 degrees may mean a circle.\n\n360 degrees may also refer to:\n 360° (EP), an EP by Infinite\n 360 Degrees (album), an LPG album\n \"360 Degrees (What Goes Around)\", a song on Reel to Reel by Grand Puba\n Anderson Cooper 360°, a television news show\n\nSee also\n \n 360 (disambiguation)\n 360 degree camera\n 360-degree feedback\n 360 degree view"
]
|
[
"Vienna Boys' Choir",
"Early history"
]
| C_7eda8404fd0a46bf8f1b757cd1a79658_1 | How did the choir get started? | 1 | How did the Vienna Boys' Choir get started? | Vienna Boys' Choir | The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The choir was, for practical purposes, established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own. Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner. In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue and white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir. Since 1948, the Palais Augarten has served as their rehearsal venue and boarding school, which goes from kindergarten level up to middle school level. In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day. CANNOTANSWER | established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. | The Vienna Boys' Choir () is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries.
The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".
Early history
The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own.
Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner.
In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir.
Since 1948, Palais Augarten has served as the rehearsal venue and boarding school, which goes from kindergarten level up to middle school level.
In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day.
Recent history
Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them.
The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013.
In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members.
Selected discography
Christmas
Frohe Weihnachten (2015)
Wiener Sängerknaben Goes Christmas (2003)
Frohe Weihnacht (Merry Christmas) (1999)
Christmas in Vienna / Heiligste Nacht (1990)
Merry Christmas from the Vienna Choir Boys (1982)
Christmas with the Vienna Choir Boys (with Hermann Prey)
Christmas with the Vienna Boys' Choir, London Symphony Orchestra (1990)
Weihnacht mit den Wiener Sängerknaben (Hans Gillesberger 1980)
The Little Drummer Boy (TV 1968)
Die Wiener Sängerknaben und ihre Schönsten ... (1967)
Frohe Weihnacht (1960)
Christmas Angels (RCA Gold Seal)
Silent Night
Pop music
I Am from Austria (2006)
Wiener Sängerknaben Goes Pop (2002)
Other recordings
Orff: Carmina Burana (with André Previn and the Vienna Philharmonic Orchestra) (1994)
Angelic Voices (1998)
"Doraemon no Uta" for the animated motion picture Doraemon: Nobita and the Legend of the Sun King (2000)
Silk Road: Songs Along the Road and Time (Music from the Motion Picture) (with Yulduz Usmanova and Nursultan Saroy) (2008)
LG G2 Theme song and ringtone (2013)
Strauss For Ever (2018)
The Vienna Boys' Choir performed the song "The Little Drummer Boy" in the Rankin/Bass TV special of the same name.
Feature Films
Kleine Grosse Stimme (Little big voice) (2015)
Songs for Mary (2014)
Bridging the Gap (2013)
Silk Road (2008)
Almost Angels (1962)
When the Bells Sound Clearly (1959)
Der schönste Tag meines Lebens (The best day of my life) (1957)
Voices of Spring (1952)
Singenden Engel (The singing angels) (1947)
Boys of the Prater (1946)
Concert in Tirol (1938)
An Orphan Boy of Vienna (1936)
Featured composers
Johann Sebastian Bach
Ludwig van Beethoven
Heinrich Ignaz Franz Biber
Benjamin Britten
Anton Bruckner
Antonio Caldara
Jacobus Gallus
George Frideric Handel
Joseph Haydn
Wolfgang Amadeus Mozart
Franz Schubert
Salomon Sulzer
Smaller works based on anthologies
Anton Bruckner, Christus factus est
Anton Bruckner, Locus iste
Anton Bruckner, Os justi
Anton Bruckner, Virga Jesse
Joseph Leopold Eybler, Omnes de Saba venient
Gabriel Fauré, Pie Jesu
Jacobus Gallus, Natus est nobis
Jacobus Gallus, Pueri concinite
Jacobus Gallus, Repleti sunt
Georg Friedrich Händel, Zadok the Priest
Joseph Haydn, Du bist's, dem Ruhm und Ehre gebühret
Joseph Haydn, Insanae et vanae curae
Michael Haydn, Lauft, ihr Hirten allzugleich
Jacbus de Kerle, Sanctus – Hosanna – Benedictus
Wolfgang Amadeus Mozart, Kyrie Es-Dur KV 322
Wolfgang Amadeus Mozart, Kyrie d-moll KV 341
Wolfgang Amadeus Mozart, Misericordias Domini KV 222
Wolfgang Amadeus Mozart, Sub tuum praesidium
Giovanni Nascus, Incipit lamentatio
Giovanni Pierluigi da Palestrina, Hodie Christus natus est
Michael Praetorius, In natali Domini
Franz Schubert, Salve Regina D 386
Franz Schubert, Tantum ergo D 962
Franz Schubert, Totus in corde langueo D 136
Giuseppe Verdi, Laudi alla Vergine Maria
Giuseppe Verdi, Pater noster
Tomás Luis de Victoria, O regem coeli
Tomás Luis de Victoria, Una hora
See also
Vienna Girls' Choir
Drakensberg Boys' Choir School
References
External links
School's official website
Friends of the Vienna Boys Choir
1490s establishments in the Holy Roman Empire
1498 establishments in Europe
15th-century establishments in Austria
Austrian choirs
Boys' and men's choirs
Choirs of children
Musical groups from Vienna
Musical groups established in the 15th century
Organisations based in Vienna
EMI Classics and Virgin Classics artists | false | [
"How Did This Get Made? is a comedy podcast on the Earwolf network hosted by Paul Scheer, June Diane Raphael, and Jason Mantzoukas.\n\nGenerally, How Did This Get Made? is released every two weeks. During the show's off-week, a \".5\" episode is uploaded featuring Scheer announcing the next week's movie, as well as challenges for the fans. In addition to the shows and mini-shows, the How Did This Get Made? stream hosted the first three episodes of Bitch Sesh, the podcast of previous guests Casey Wilson and Danielle Schneider, in December 2015. It has also hosted episodes of its own spin-off podcast, the How Did This Get Made? Origin Stories, in which Blake Harris interviews people involved with the films covered by the main show. In December 2017, an episode was recorded for the Pee Cast Blast event, and released exclusively on Stitcher Premium.\n\nEvery episode has featured Paul Scheer as the host of the podcast. The only episode to date in which Scheer hosted remotely was The Smurfs, in which he Skyped in. Raphael has taken extended breaks from the podcast for both filming commitments and maternity leave. Mantzoukas has also missed episodes due to work, but has also Skyped in for various episodes. On the occasions that neither Raphael nor Mantzoukas are available for live appearances, Scheer calls in previous fan-favorite guests for what is known as a How Did This Get Made? All-Stars episode.\n\nList of episodes\n\nMini episodes\n\nReferences\n\nExternal links \n List of How Did This Get Made? episodes\n\nHow Did This Get Made\nHow Did This Get Made",
"How Did This Get Made? (HDTGM) is a podcast on the Earwolf network. It is hosted by Paul Scheer, June Diane Raphael and Jason Mantzoukas. Each episode, which typically has a different guest, features the deconstruction and mockery of outlandish and bad films.\n\nFormat\nThe hosts and guest make jokes about the films as well as attempt to unscramble plots. After discussing the film, Scheer reads \"second opinions\" in the form of five-star reviews posted online by Amazon.com users. The hosts also often make recommendations on if the film is worth watching. The show is released every two weeks.\n\nDuring the show's off week a \".5\" episode (also known as a \"minisode\") is uploaded. These episodes feature Scheer's \"explanation hopeline\" where he answers questions from fans who call in, the movie for the next week is announced, Scheer reads corrections and omissions from the message board regarding last week's episode, and he opens fan mail and provides his recommendations on books, movies, TV shows etc. that he is enjoying.\n\nSome full episodes are recorded in front of a live audience and include a question and answer session and original \"second opinion\" theme songs sung by fans. Not all content from the live shows is included in the final released episode - about 30 minutes of each live show is edited out.\n\nHistory\nHow Did This Get Made? began after Scheer and Raphael saw the movie Wall Street: Money Never Sleeps. Later, the pair talked to Mantzoukas about the movie and joked about the idea for starting a bad movie podcast. , Wall Street: Money Never Sleeps has never been covered on the podcast.\n\nAwards\nIn 2019, How Did This Get Made? won a Webby Award in the category of Podcasts – Television & Film.\n\nIn 2020, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nIn 2022, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nSpinoffs\n\nHow Did This Get Made?: Origin Stories\nBetween February and September 2017, a 17-episode spin-off series of the podcast was released. Entitled How Did This Get Made?: Origin Stories, author Blake J. Harris would interview people involved with the movies discussed on the podcast. Guests on the show included director Mel Brooks, who served as executive producer on Solarbabies, and screenwriter Dan Gordon, who wrote Surf Ninjas.\n\nUnspooled\nIn May 2018, Scheer began a new podcast with Amy Nicholson titled Unspooled that is also devoted to movies. Unlike HDTGM?, however, Unspooled looks at films deemed good enough for the updated 2007 edition of the AFI Top 100. This is often referenced in How Did This Get Made? by Mantzoukas and Raphael, who are comically annoyed at how they were not invited to host the podcast, instead being subjected to the bad films that HDTGM covers.\n\nHow Did This Get Played?\nIn June 2019, the Earwolf network launched the podcast How Did This Get Played?, hosted by Doughboys host Nick Wiger and former Saturday Night Live writer Heather Anne Campbell. The podcast is positioned as the video game equivalent of HDTGM?, where Wiger and Campbell review widely panned video games.\n\nEpisodes\n\nAdaptation\nThe program was adapted in France in 2014 under the title 2 heures de perdues (http://www.2hdp.fr/ and available on Spotify and iTunes), a podcast in which several friends meet to analyze bad films in the same style (mainly American, French, and British films). The show then ends with a reading of comments found on AlloCiné (biggest French-speaking cinema website) or Amazon.\n\nReferences\n\nExternal links \n \n How Did This Get Made on Earwolf\n\nAudio podcasts\nEarwolf\nFilm and television podcasts\nComedy and humor podcasts\n2010 podcast debuts"
]
|
[
"Vienna Boys' Choir",
"Early history",
"How did the choir get started?",
"established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys."
]
| C_7eda8404fd0a46bf8f1b757cd1a79658_1 | Who was the singing master? | 2 | Who was the singing master of the Vienna Boys' Choir? | Vienna Boys' Choir | The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The choir was, for practical purposes, established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own. Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner. In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue and white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir. Since 1948, the Palais Augarten has served as their rehearsal venue and boarding school, which goes from kindergarten level up to middle school level. In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day. CANNOTANSWER | CANNOTANSWER | The Vienna Boys' Choir () is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries.
The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".
Early history
The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own.
Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner.
In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir.
Since 1948, Palais Augarten has served as the rehearsal venue and boarding school, which goes from kindergarten level up to middle school level.
In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day.
Recent history
Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them.
The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013.
In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members.
Selected discography
Christmas
Frohe Weihnachten (2015)
Wiener Sängerknaben Goes Christmas (2003)
Frohe Weihnacht (Merry Christmas) (1999)
Christmas in Vienna / Heiligste Nacht (1990)
Merry Christmas from the Vienna Choir Boys (1982)
Christmas with the Vienna Choir Boys (with Hermann Prey)
Christmas with the Vienna Boys' Choir, London Symphony Orchestra (1990)
Weihnacht mit den Wiener Sängerknaben (Hans Gillesberger 1980)
The Little Drummer Boy (TV 1968)
Die Wiener Sängerknaben und ihre Schönsten ... (1967)
Frohe Weihnacht (1960)
Christmas Angels (RCA Gold Seal)
Silent Night
Pop music
I Am from Austria (2006)
Wiener Sängerknaben Goes Pop (2002)
Other recordings
Orff: Carmina Burana (with André Previn and the Vienna Philharmonic Orchestra) (1994)
Angelic Voices (1998)
"Doraemon no Uta" for the animated motion picture Doraemon: Nobita and the Legend of the Sun King (2000)
Silk Road: Songs Along the Road and Time (Music from the Motion Picture) (with Yulduz Usmanova and Nursultan Saroy) (2008)
LG G2 Theme song and ringtone (2013)
Strauss For Ever (2018)
The Vienna Boys' Choir performed the song "The Little Drummer Boy" in the Rankin/Bass TV special of the same name.
Feature Films
Kleine Grosse Stimme (Little big voice) (2015)
Songs for Mary (2014)
Bridging the Gap (2013)
Silk Road (2008)
Almost Angels (1962)
When the Bells Sound Clearly (1959)
Der schönste Tag meines Lebens (The best day of my life) (1957)
Voices of Spring (1952)
Singenden Engel (The singing angels) (1947)
Boys of the Prater (1946)
Concert in Tirol (1938)
An Orphan Boy of Vienna (1936)
Featured composers
Johann Sebastian Bach
Ludwig van Beethoven
Heinrich Ignaz Franz Biber
Benjamin Britten
Anton Bruckner
Antonio Caldara
Jacobus Gallus
George Frideric Handel
Joseph Haydn
Wolfgang Amadeus Mozart
Franz Schubert
Salomon Sulzer
Smaller works based on anthologies
Anton Bruckner, Christus factus est
Anton Bruckner, Locus iste
Anton Bruckner, Os justi
Anton Bruckner, Virga Jesse
Joseph Leopold Eybler, Omnes de Saba venient
Gabriel Fauré, Pie Jesu
Jacobus Gallus, Natus est nobis
Jacobus Gallus, Pueri concinite
Jacobus Gallus, Repleti sunt
Georg Friedrich Händel, Zadok the Priest
Joseph Haydn, Du bist's, dem Ruhm und Ehre gebühret
Joseph Haydn, Insanae et vanae curae
Michael Haydn, Lauft, ihr Hirten allzugleich
Jacbus de Kerle, Sanctus – Hosanna – Benedictus
Wolfgang Amadeus Mozart, Kyrie Es-Dur KV 322
Wolfgang Amadeus Mozart, Kyrie d-moll KV 341
Wolfgang Amadeus Mozart, Misericordias Domini KV 222
Wolfgang Amadeus Mozart, Sub tuum praesidium
Giovanni Nascus, Incipit lamentatio
Giovanni Pierluigi da Palestrina, Hodie Christus natus est
Michael Praetorius, In natali Domini
Franz Schubert, Salve Regina D 386
Franz Schubert, Tantum ergo D 962
Franz Schubert, Totus in corde langueo D 136
Giuseppe Verdi, Laudi alla Vergine Maria
Giuseppe Verdi, Pater noster
Tomás Luis de Victoria, O regem coeli
Tomás Luis de Victoria, Una hora
See also
Vienna Girls' Choir
Drakensberg Boys' Choir School
References
External links
School's official website
Friends of the Vienna Boys Choir
1490s establishments in the Holy Roman Empire
1498 establishments in Europe
15th-century establishments in Austria
Austrian choirs
Boys' and men's choirs
Choirs of children
Musical groups from Vienna
Musical groups established in the 15th century
Organisations based in Vienna
EMI Classics and Virgin Classics artists | false | [
"Aldyn-ool Takashovich Sevek (, ; died 2011) was a master Tuvan throat singer.\n\nSevek was from Mogur Aksi, a remote village in the Tuvan mountains. He was an accomplished master of khöömei (), especially The Dag (mountain) Kargyraa style, for which he is a household name in the world of throat singing. His unique style is instantly recognizable on recordings, and despite many attempts, no-one has been able to successfully reproduce his sound. For a time, he performed with the group Yat-Kha. Sevek won the Grand Prize at the International Symposium of Throat-Singing.\n\nSevek died of throat cancer on the 11th September 2011.\n\nReferences \n\n20th-century Russian male singers\nThroat singing\nYear of birth missing\n2011 deaths\nTuvan musicians",
"Herman Brearley (died 1940) was an English cathedral organist, who served in Blackburn Cathedral.\n\nBackground\nHerman Brearley was born in Batley, Yorkshire.\n\nHe was a chorister and then assistant organist at Lichfield Cathedral.\n\nHe was appointed Conductor of the Preston Choral Society in 1918, and conductor of the Blackburn Philharmonic Choral Society in 1922. He was also the Conductor of the Meistersingers Society, the Northrop Male Voice Choir and the Grammar School Society.\n\nHe was also Blackburn Borough organist, the first holder of the post, 1922 - 1930.\n\nHe was also Music Master at Queen Elizabeth's Grammar School, Blackburn.\n\nIn 1935 he became teacher of singing, sight-singing and musical dictation at the Royal Manchester College of Music.\n\nIn 1937 he succeeded Harold Dawber as Chorus Master of the Hallé Choir.\n\nCareer\nAssistant Organist of :\nLichfield Cathedral ???? - 1895\n\nOrganist of:\nHalstead Parish Church, Essex, 1895–1901\nHoly Trinity, Hastings 1901 - ????\nAll Saints, Hastings ???? - 1916\nBlackburn Cathedral 1916 - 1939\n\nReferences\n\nEnglish classical organists\nBritish male organists\nCathedral organists\nPeople from Batley\n19th-century births\n1940 deaths"
]
|
[
"Vienna Boys' Choir",
"Early history",
"How did the choir get started?",
"established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys.",
"Who was the singing master?",
"I don't know."
]
| C_7eda8404fd0a46bf8f1b757cd1a79658_1 | Where did they sing? | 3 | Where did the Vienna Boys' Choir sing? | Vienna Boys' Choir | The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The choir was, for practical purposes, established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own. Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner. In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue and white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir. Since 1948, the Palais Augarten has served as their rehearsal venue and boarding school, which goes from kindergarten level up to middle school level. In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day. CANNOTANSWER | The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. | The Vienna Boys' Choir () is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries.
The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".
Early history
The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own.
Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner.
In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir.
Since 1948, Palais Augarten has served as the rehearsal venue and boarding school, which goes from kindergarten level up to middle school level.
In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day.
Recent history
Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them.
The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013.
In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members.
Selected discography
Christmas
Frohe Weihnachten (2015)
Wiener Sängerknaben Goes Christmas (2003)
Frohe Weihnacht (Merry Christmas) (1999)
Christmas in Vienna / Heiligste Nacht (1990)
Merry Christmas from the Vienna Choir Boys (1982)
Christmas with the Vienna Choir Boys (with Hermann Prey)
Christmas with the Vienna Boys' Choir, London Symphony Orchestra (1990)
Weihnacht mit den Wiener Sängerknaben (Hans Gillesberger 1980)
The Little Drummer Boy (TV 1968)
Die Wiener Sängerknaben und ihre Schönsten ... (1967)
Frohe Weihnacht (1960)
Christmas Angels (RCA Gold Seal)
Silent Night
Pop music
I Am from Austria (2006)
Wiener Sängerknaben Goes Pop (2002)
Other recordings
Orff: Carmina Burana (with André Previn and the Vienna Philharmonic Orchestra) (1994)
Angelic Voices (1998)
"Doraemon no Uta" for the animated motion picture Doraemon: Nobita and the Legend of the Sun King (2000)
Silk Road: Songs Along the Road and Time (Music from the Motion Picture) (with Yulduz Usmanova and Nursultan Saroy) (2008)
LG G2 Theme song and ringtone (2013)
Strauss For Ever (2018)
The Vienna Boys' Choir performed the song "The Little Drummer Boy" in the Rankin/Bass TV special of the same name.
Feature Films
Kleine Grosse Stimme (Little big voice) (2015)
Songs for Mary (2014)
Bridging the Gap (2013)
Silk Road (2008)
Almost Angels (1962)
When the Bells Sound Clearly (1959)
Der schönste Tag meines Lebens (The best day of my life) (1957)
Voices of Spring (1952)
Singenden Engel (The singing angels) (1947)
Boys of the Prater (1946)
Concert in Tirol (1938)
An Orphan Boy of Vienna (1936)
Featured composers
Johann Sebastian Bach
Ludwig van Beethoven
Heinrich Ignaz Franz Biber
Benjamin Britten
Anton Bruckner
Antonio Caldara
Jacobus Gallus
George Frideric Handel
Joseph Haydn
Wolfgang Amadeus Mozart
Franz Schubert
Salomon Sulzer
Smaller works based on anthologies
Anton Bruckner, Christus factus est
Anton Bruckner, Locus iste
Anton Bruckner, Os justi
Anton Bruckner, Virga Jesse
Joseph Leopold Eybler, Omnes de Saba venient
Gabriel Fauré, Pie Jesu
Jacobus Gallus, Natus est nobis
Jacobus Gallus, Pueri concinite
Jacobus Gallus, Repleti sunt
Georg Friedrich Händel, Zadok the Priest
Joseph Haydn, Du bist's, dem Ruhm und Ehre gebühret
Joseph Haydn, Insanae et vanae curae
Michael Haydn, Lauft, ihr Hirten allzugleich
Jacbus de Kerle, Sanctus – Hosanna – Benedictus
Wolfgang Amadeus Mozart, Kyrie Es-Dur KV 322
Wolfgang Amadeus Mozart, Kyrie d-moll KV 341
Wolfgang Amadeus Mozart, Misericordias Domini KV 222
Wolfgang Amadeus Mozart, Sub tuum praesidium
Giovanni Nascus, Incipit lamentatio
Giovanni Pierluigi da Palestrina, Hodie Christus natus est
Michael Praetorius, In natali Domini
Franz Schubert, Salve Regina D 386
Franz Schubert, Tantum ergo D 962
Franz Schubert, Totus in corde langueo D 136
Giuseppe Verdi, Laudi alla Vergine Maria
Giuseppe Verdi, Pater noster
Tomás Luis de Victoria, O regem coeli
Tomás Luis de Victoria, Una hora
See also
Vienna Girls' Choir
Drakensberg Boys' Choir School
References
External links
School's official website
Friends of the Vienna Boys Choir
1490s establishments in the Holy Roman Empire
1498 establishments in Europe
15th-century establishments in Austria
Austrian choirs
Boys' and men's choirs
Choirs of children
Musical groups from Vienna
Musical groups established in the 15th century
Organisations based in Vienna
EMI Classics and Virgin Classics artists | true | [
"The only season of The X Factor South Africa, aired on SABC 1 from September 6, 2014 until December 13, 2014. It won by trio Four who were mentored in the Groups category.\n\nDue to poor finances from the company that aired it, a second season was not commissioned.\n\nSelection process\n\nAuditions\nAudtionees, by choice, were given a card for them to sing on stage. The chosen songs were mainly, Lady Gaga, Little Mix, Destiny's Child etc. This discontinued from, Auditions Week 2. The age limit this year was 13 years old.\n\nAuditions were held in Durban, Bloemfontein, Cape Town, Polokwane, Johannesburg, Nelspruit and Pietermaritzburg.\n\nSix Chair Challenge\nIn this round, the Auditionees had to sing a song themed from the Song Jukebox for one week. The ongoing chosen theme was R&R. If the auditionees did not sing a R&R song, they would be kicked out of the contest, into the Danger Zone stage.\n\nDanger Zone\nThis is the round, where if five different auditionees did not sing the selected theme for the Six Chair Challenge, they would end up here, and would have to sing a song chosen by the judges, and if they do good, they move to the next round, and someone who has already got a seat at the sixth chair challenge is going home. If they didn't, the auditionee, is going home themselves.\n\nHome visits\n\nFinalists\nKey:\n – Winner\n – Runner-up\n – Third place\n\nLive Shows\nLike the Six Chair Challenge, the Song Jukebox, will be used to decide what genre of music the contestants will sing. If they fail to sing the selected genre, they will be going to Danger Zone, and will be asked to sing again, and will be given a song, the judges picked out. If they sing beautifully, they are through to the next stage of the Live Shows, and a contestant who has gotten through to the next round will leave, and if the contestant doesn't sing their heart out, their going home, themselves.\n\nBefore the presenter declared the winner, the Winner him or herself will appeared on the X Factor App.\n\nResults summary\n\nColour key\n\n Mikhal Jones were brought into the live shows after week 1.\n\nThe X Factor\nSouth African reality television series\nSouth African television series based on British television series\n2014 South African television seasons",
"You'll Sing a Song and I'll Sing a Song is an album by folk singer Ella Jenkins. She is joined by members of the Urban Gateways Children's Chorus. It was later added into the National Recording Registry. The composition \"You'll Sing a Song and I'll Sing a Song\" was added to National Recording Registry by the Library of Congress in 2007.\n\nTrack listing\n \"You'll Sing a Song and I'll Sing a Song\" (Ella Jenkins) – 4:20\n \"Shabot Shalom\" (Traditional) – :46\n \"Cadima\" (Traditional) – 1:37\n \"This Train\" (Traditional) – 3:02\n \"Did You Feed My Cow?\" (Traditional) – 3:12\n \"Miss Mary Mack\" (Traditional) – 1:56\n \"May-Ree Mack\" (Jenkins, Traditional) – 2:11\n \"You'll Sing a Song and I'll Sing a Song (Review)\" – 2:41\n \"Dulce, Dulce\" (Jenkins) – 1:16\n \"May-Ree Mack (Review)\" – 2:18\n \"Maori Indian Battle Chant\" :31\n \"Did You Feed My Cow? (Review)\" – 2:33\n \"I Saw\" (Jenkins) – 2:20\n \"Sifting in the Sand\" (Traditional) – 1:10\n \"Guide Me\" (Traditional) – 3:02\n\nPersonnel\nElla Jenkins – vocals, harmonica, ukulele, guitar\nUrban Gateways Children's Chorus – choir\n\nReferences\n\n1966 albums\nElla Jenkins albums\nFolkways Records albums\nUnited States National Recording Registry recordings\nUnited States National Recording Registry albums"
]
|
[
"Vienna Boys' Choir",
"Early history",
"How did the choir get started?",
"established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys.",
"Who was the singing master?",
"I don't know.",
"Where did they sing?",
"The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass."
]
| C_7eda8404fd0a46bf8f1b757cd1a79658_1 | How did it gain popularity? | 4 | How did the Vienna Boys' Choir gain popularity? | Vienna Boys' Choir | The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The choir was, for practical purposes, established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own. Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner. In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue and white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir. Since 1948, the Palais Augarten has served as their rehearsal venue and boarding school, which goes from kindergarten level up to middle school level. In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day. CANNOTANSWER | CANNOTANSWER | The Vienna Boys' Choir () is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries.
The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".
Early history
The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own.
Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner.
In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir.
Since 1948, Palais Augarten has served as the rehearsal venue and boarding school, which goes from kindergarten level up to middle school level.
In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day.
Recent history
Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them.
The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013.
In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members.
Selected discography
Christmas
Frohe Weihnachten (2015)
Wiener Sängerknaben Goes Christmas (2003)
Frohe Weihnacht (Merry Christmas) (1999)
Christmas in Vienna / Heiligste Nacht (1990)
Merry Christmas from the Vienna Choir Boys (1982)
Christmas with the Vienna Choir Boys (with Hermann Prey)
Christmas with the Vienna Boys' Choir, London Symphony Orchestra (1990)
Weihnacht mit den Wiener Sängerknaben (Hans Gillesberger 1980)
The Little Drummer Boy (TV 1968)
Die Wiener Sängerknaben und ihre Schönsten ... (1967)
Frohe Weihnacht (1960)
Christmas Angels (RCA Gold Seal)
Silent Night
Pop music
I Am from Austria (2006)
Wiener Sängerknaben Goes Pop (2002)
Other recordings
Orff: Carmina Burana (with André Previn and the Vienna Philharmonic Orchestra) (1994)
Angelic Voices (1998)
"Doraemon no Uta" for the animated motion picture Doraemon: Nobita and the Legend of the Sun King (2000)
Silk Road: Songs Along the Road and Time (Music from the Motion Picture) (with Yulduz Usmanova and Nursultan Saroy) (2008)
LG G2 Theme song and ringtone (2013)
Strauss For Ever (2018)
The Vienna Boys' Choir performed the song "The Little Drummer Boy" in the Rankin/Bass TV special of the same name.
Feature Films
Kleine Grosse Stimme (Little big voice) (2015)
Songs for Mary (2014)
Bridging the Gap (2013)
Silk Road (2008)
Almost Angels (1962)
When the Bells Sound Clearly (1959)
Der schönste Tag meines Lebens (The best day of my life) (1957)
Voices of Spring (1952)
Singenden Engel (The singing angels) (1947)
Boys of the Prater (1946)
Concert in Tirol (1938)
An Orphan Boy of Vienna (1936)
Featured composers
Johann Sebastian Bach
Ludwig van Beethoven
Heinrich Ignaz Franz Biber
Benjamin Britten
Anton Bruckner
Antonio Caldara
Jacobus Gallus
George Frideric Handel
Joseph Haydn
Wolfgang Amadeus Mozart
Franz Schubert
Salomon Sulzer
Smaller works based on anthologies
Anton Bruckner, Christus factus est
Anton Bruckner, Locus iste
Anton Bruckner, Os justi
Anton Bruckner, Virga Jesse
Joseph Leopold Eybler, Omnes de Saba venient
Gabriel Fauré, Pie Jesu
Jacobus Gallus, Natus est nobis
Jacobus Gallus, Pueri concinite
Jacobus Gallus, Repleti sunt
Georg Friedrich Händel, Zadok the Priest
Joseph Haydn, Du bist's, dem Ruhm und Ehre gebühret
Joseph Haydn, Insanae et vanae curae
Michael Haydn, Lauft, ihr Hirten allzugleich
Jacbus de Kerle, Sanctus – Hosanna – Benedictus
Wolfgang Amadeus Mozart, Kyrie Es-Dur KV 322
Wolfgang Amadeus Mozart, Kyrie d-moll KV 341
Wolfgang Amadeus Mozart, Misericordias Domini KV 222
Wolfgang Amadeus Mozart, Sub tuum praesidium
Giovanni Nascus, Incipit lamentatio
Giovanni Pierluigi da Palestrina, Hodie Christus natus est
Michael Praetorius, In natali Domini
Franz Schubert, Salve Regina D 386
Franz Schubert, Tantum ergo D 962
Franz Schubert, Totus in corde langueo D 136
Giuseppe Verdi, Laudi alla Vergine Maria
Giuseppe Verdi, Pater noster
Tomás Luis de Victoria, O regem coeli
Tomás Luis de Victoria, Una hora
See also
Vienna Girls' Choir
Drakensberg Boys' Choir School
References
External links
School's official website
Friends of the Vienna Boys Choir
1490s establishments in the Holy Roman Empire
1498 establishments in Europe
15th-century establishments in Austria
Austrian choirs
Boys' and men's choirs
Choirs of children
Musical groups from Vienna
Musical groups established in the 15th century
Organisations based in Vienna
EMI Classics and Virgin Classics artists | false | [
"Semifreddo (, ) is a class of frozen desserts. The main ingredients are egg yolks, sugar, and cream.\nIt has the texture of frozen mousse. Such a dessert's Spanish counterpart is called semifrío. \nIt was created around the 19th century. However, it did not gain popularity until the early 20th century.\n\nSee also \n Parfait\n List of custard desserts\n List of Italian desserts\n\nReferences \n\nFrozen desserts\nItalian desserts\nCustard desserts",
"Znap was a Lego theme that was launched in 1998. It was similar to K'nex and could be used to construct a variety of structures. It moved away from the traditional system of Lego construction and did not gain popularity. The product line was discontinued in 1999.\n\nRelease \nZnap was launched in 1998. The pieces were more complex than traditional Lego bricks, which allowed for more complicated architectural creations. The product line aimed to rival a similar construction toy named K'Nex, but did not gain popularity and was discontinued in 1999. Lego Znap was launched at a time in the late 1990s, when The Lego Group was experiencing financial problems, caused by several factors, including infrastructure expansion and an unmanageable increase in the number of produced parts with little gain in sales. Znap is listed by Business Insider as one of several product lines launched during this period \"that almost ruined the company.\"\n\nDescription \nLego Znap was a building system that could be snapped together in a flexible way to create structures such as bridges. The parts were produced in a series of bright colours.\n\nConstruction sets \nAccording to Bricklink, Lego Znap released 19 sets.\n\n1998 sets\n3501 Jetcar\n3502 Bi-wing\n3503 Mini-sonic\n3504 Hooktruck\n3510 Polybag\n3531 Tricycle\n3532 Jetski\n3551 Dino-Jet\n3552 Hover-Sub\n3571 Blackmobile\n3581 Formula Z Car\n\n 3591 Heli-transport\n\n1999 sets\n3505 Airplane\n3506 Motorbike\n3520 Forklift\n3521 Racer\n3554 Helicopter\n3555 Jeep\n3582 Ant\n\nReception \nZnap is one of several Lego product lines with alternative building systems that have been rejected by some Adult Fans of Lego (AFOL) as \"impure\" and \"not Lego\".\n\nSee also \n\n Lego Technic\n\nReferences \n\nZnap\nProducts introduced in 1998"
]
|
[
"Vienna Boys' Choir",
"Early history",
"How did the choir get started?",
"established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys.",
"Who was the singing master?",
"I don't know.",
"Where did they sing?",
"The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass.",
"How did it gain popularity?",
"I don't know."
]
| C_7eda8404fd0a46bf8f1b757cd1a79658_1 | Are there any other interesting aspects about this article? | 5 | Besides the founding of the Vienna Boys' Choir, are there any other interesting aspects about this article? | Vienna Boys' Choir | The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The choir was, for practical purposes, established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own. Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner. In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue and white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir. Since 1948, the Palais Augarten has served as their rehearsal venue and boarding school, which goes from kindergarten level up to middle school level. In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day. CANNOTANSWER | In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, | The Vienna Boys' Choir () is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries.
The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".
Early history
The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own.
Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner.
In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir.
Since 1948, Palais Augarten has served as the rehearsal venue and boarding school, which goes from kindergarten level up to middle school level.
In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day.
Recent history
Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them.
The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013.
In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members.
Selected discography
Christmas
Frohe Weihnachten (2015)
Wiener Sängerknaben Goes Christmas (2003)
Frohe Weihnacht (Merry Christmas) (1999)
Christmas in Vienna / Heiligste Nacht (1990)
Merry Christmas from the Vienna Choir Boys (1982)
Christmas with the Vienna Choir Boys (with Hermann Prey)
Christmas with the Vienna Boys' Choir, London Symphony Orchestra (1990)
Weihnacht mit den Wiener Sängerknaben (Hans Gillesberger 1980)
The Little Drummer Boy (TV 1968)
Die Wiener Sängerknaben und ihre Schönsten ... (1967)
Frohe Weihnacht (1960)
Christmas Angels (RCA Gold Seal)
Silent Night
Pop music
I Am from Austria (2006)
Wiener Sängerknaben Goes Pop (2002)
Other recordings
Orff: Carmina Burana (with André Previn and the Vienna Philharmonic Orchestra) (1994)
Angelic Voices (1998)
"Doraemon no Uta" for the animated motion picture Doraemon: Nobita and the Legend of the Sun King (2000)
Silk Road: Songs Along the Road and Time (Music from the Motion Picture) (with Yulduz Usmanova and Nursultan Saroy) (2008)
LG G2 Theme song and ringtone (2013)
Strauss For Ever (2018)
The Vienna Boys' Choir performed the song "The Little Drummer Boy" in the Rankin/Bass TV special of the same name.
Feature Films
Kleine Grosse Stimme (Little big voice) (2015)
Songs for Mary (2014)
Bridging the Gap (2013)
Silk Road (2008)
Almost Angels (1962)
When the Bells Sound Clearly (1959)
Der schönste Tag meines Lebens (The best day of my life) (1957)
Voices of Spring (1952)
Singenden Engel (The singing angels) (1947)
Boys of the Prater (1946)
Concert in Tirol (1938)
An Orphan Boy of Vienna (1936)
Featured composers
Johann Sebastian Bach
Ludwig van Beethoven
Heinrich Ignaz Franz Biber
Benjamin Britten
Anton Bruckner
Antonio Caldara
Jacobus Gallus
George Frideric Handel
Joseph Haydn
Wolfgang Amadeus Mozart
Franz Schubert
Salomon Sulzer
Smaller works based on anthologies
Anton Bruckner, Christus factus est
Anton Bruckner, Locus iste
Anton Bruckner, Os justi
Anton Bruckner, Virga Jesse
Joseph Leopold Eybler, Omnes de Saba venient
Gabriel Fauré, Pie Jesu
Jacobus Gallus, Natus est nobis
Jacobus Gallus, Pueri concinite
Jacobus Gallus, Repleti sunt
Georg Friedrich Händel, Zadok the Priest
Joseph Haydn, Du bist's, dem Ruhm und Ehre gebühret
Joseph Haydn, Insanae et vanae curae
Michael Haydn, Lauft, ihr Hirten allzugleich
Jacbus de Kerle, Sanctus – Hosanna – Benedictus
Wolfgang Amadeus Mozart, Kyrie Es-Dur KV 322
Wolfgang Amadeus Mozart, Kyrie d-moll KV 341
Wolfgang Amadeus Mozart, Misericordias Domini KV 222
Wolfgang Amadeus Mozart, Sub tuum praesidium
Giovanni Nascus, Incipit lamentatio
Giovanni Pierluigi da Palestrina, Hodie Christus natus est
Michael Praetorius, In natali Domini
Franz Schubert, Salve Regina D 386
Franz Schubert, Tantum ergo D 962
Franz Schubert, Totus in corde langueo D 136
Giuseppe Verdi, Laudi alla Vergine Maria
Giuseppe Verdi, Pater noster
Tomás Luis de Victoria, O regem coeli
Tomás Luis de Victoria, Una hora
See also
Vienna Girls' Choir
Drakensberg Boys' Choir School
References
External links
School's official website
Friends of the Vienna Boys Choir
1490s establishments in the Holy Roman Empire
1498 establishments in Europe
15th-century establishments in Austria
Austrian choirs
Boys' and men's choirs
Choirs of children
Musical groups from Vienna
Musical groups established in the 15th century
Organisations based in Vienna
EMI Classics and Virgin Classics artists | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
]
|
[
"Vienna Boys' Choir",
"Early history",
"How did the choir get started?",
"established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys.",
"Who was the singing master?",
"I don't know.",
"Where did they sing?",
"The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass.",
"How did it gain popularity?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir,"
]
| C_7eda8404fd0a46bf8f1b757cd1a79658_1 | Was it seen by many people? | 6 | Was the film Almost Angels seen by many people? | Vienna Boys' Choir | The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The choir was, for practical purposes, established by a letter from Emperor Maximilian I of Habsburg on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own. Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner. In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue and white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir. Since 1948, the Palais Augarten has served as their rehearsal venue and boarding school, which goes from kindergarten level up to middle school level. In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day. CANNOTANSWER | CANNOTANSWER | The Vienna Boys' Choir () is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries.
The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".
Early history
The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own.
Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner.
In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir.
Since 1948, Palais Augarten has served as the rehearsal venue and boarding school, which goes from kindergarten level up to middle school level.
In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day.
Recent history
Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them.
The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013.
In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members.
Selected discography
Christmas
Frohe Weihnachten (2015)
Wiener Sängerknaben Goes Christmas (2003)
Frohe Weihnacht (Merry Christmas) (1999)
Christmas in Vienna / Heiligste Nacht (1990)
Merry Christmas from the Vienna Choir Boys (1982)
Christmas with the Vienna Choir Boys (with Hermann Prey)
Christmas with the Vienna Boys' Choir, London Symphony Orchestra (1990)
Weihnacht mit den Wiener Sängerknaben (Hans Gillesberger 1980)
The Little Drummer Boy (TV 1968)
Die Wiener Sängerknaben und ihre Schönsten ... (1967)
Frohe Weihnacht (1960)
Christmas Angels (RCA Gold Seal)
Silent Night
Pop music
I Am from Austria (2006)
Wiener Sängerknaben Goes Pop (2002)
Other recordings
Orff: Carmina Burana (with André Previn and the Vienna Philharmonic Orchestra) (1994)
Angelic Voices (1998)
"Doraemon no Uta" for the animated motion picture Doraemon: Nobita and the Legend of the Sun King (2000)
Silk Road: Songs Along the Road and Time (Music from the Motion Picture) (with Yulduz Usmanova and Nursultan Saroy) (2008)
LG G2 Theme song and ringtone (2013)
Strauss For Ever (2018)
The Vienna Boys' Choir performed the song "The Little Drummer Boy" in the Rankin/Bass TV special of the same name.
Feature Films
Kleine Grosse Stimme (Little big voice) (2015)
Songs for Mary (2014)
Bridging the Gap (2013)
Silk Road (2008)
Almost Angels (1962)
When the Bells Sound Clearly (1959)
Der schönste Tag meines Lebens (The best day of my life) (1957)
Voices of Spring (1952)
Singenden Engel (The singing angels) (1947)
Boys of the Prater (1946)
Concert in Tirol (1938)
An Orphan Boy of Vienna (1936)
Featured composers
Johann Sebastian Bach
Ludwig van Beethoven
Heinrich Ignaz Franz Biber
Benjamin Britten
Anton Bruckner
Antonio Caldara
Jacobus Gallus
George Frideric Handel
Joseph Haydn
Wolfgang Amadeus Mozart
Franz Schubert
Salomon Sulzer
Smaller works based on anthologies
Anton Bruckner, Christus factus est
Anton Bruckner, Locus iste
Anton Bruckner, Os justi
Anton Bruckner, Virga Jesse
Joseph Leopold Eybler, Omnes de Saba venient
Gabriel Fauré, Pie Jesu
Jacobus Gallus, Natus est nobis
Jacobus Gallus, Pueri concinite
Jacobus Gallus, Repleti sunt
Georg Friedrich Händel, Zadok the Priest
Joseph Haydn, Du bist's, dem Ruhm und Ehre gebühret
Joseph Haydn, Insanae et vanae curae
Michael Haydn, Lauft, ihr Hirten allzugleich
Jacbus de Kerle, Sanctus – Hosanna – Benedictus
Wolfgang Amadeus Mozart, Kyrie Es-Dur KV 322
Wolfgang Amadeus Mozart, Kyrie d-moll KV 341
Wolfgang Amadeus Mozart, Misericordias Domini KV 222
Wolfgang Amadeus Mozart, Sub tuum praesidium
Giovanni Nascus, Incipit lamentatio
Giovanni Pierluigi da Palestrina, Hodie Christus natus est
Michael Praetorius, In natali Domini
Franz Schubert, Salve Regina D 386
Franz Schubert, Tantum ergo D 962
Franz Schubert, Totus in corde langueo D 136
Giuseppe Verdi, Laudi alla Vergine Maria
Giuseppe Verdi, Pater noster
Tomás Luis de Victoria, O regem coeli
Tomás Luis de Victoria, Una hora
See also
Vienna Girls' Choir
Drakensberg Boys' Choir School
References
External links
School's official website
Friends of the Vienna Boys Choir
1490s establishments in the Holy Roman Empire
1498 establishments in Europe
15th-century establishments in Austria
Austrian choirs
Boys' and men's choirs
Choirs of children
Musical groups from Vienna
Musical groups established in the 15th century
Organisations based in Vienna
EMI Classics and Virgin Classics artists | false | [
"Kalakarz is a reality television series which aired on DD National in India, featuring a competition for new actors. Richa Tiwari from Sagar, Madhya Pradesh won the show who was later seen in other DD National Programs as well. The show was hosted by Shraddha Nigam and Hussain Kuwajerwala, and was judged by Amol Palekar and Deepti Naval. The show was produced by Supriya Khan.\n\nCandidates\nAfter taking auditions from all over India, the judges shortlisted ten candidates for participation.\n\nRicha Tiwari who won the show was later seen in many National Theaters, Short Films and Television Shows and Priyanka Mukherjee, who came in fourth place, was later seen in Indian Idol season 4.\n\nReferences\n\nIndian reality television series\nDD National original programming",
"This article is a list of UFO sightings that were reported in Norway.\n\n1986\nIn the evening of July 13, 1986, in a mountain farm near Torpo the married couples Tova and Tonning saw two bright objects in the sky. Mr Tonning took a film where the objects were seen moving. The movie was analyzed by the ufological organization Ground Saucer Watch (GSW). According to the GSW: there is no evidence of a hoax; the motion of the objects was attributable to the camera movement caused by the photographer; there is a lack of reference points in the photos or video tape, so it is not possible to give a conclusive answer on the nature of the objects. Other experts identified the bright objects as Jupiter and Arcturus.\n\n2006\nIn the evening of August 21, 2006, a strange light phenomenon was reported seen by many people in the sky all over northern Norway, from Finnsnes in Troms, to Bodø in Nordland. The bright, green, shining orb was traveling with great speed in night sky and was described by witnesses as much bigger than an aircraft. The police and coast guards were contacted by hundreds of people who saw the object. Some people believed, and the newspapers half-seriously claimed, that it was a UFO, and for a while it remained an unidentified flying object. A few days later, the phenomenon was explained to have been a bolide.\n\n2009\n\nOn December 9, 2009, a bluish spiraling light is seen, filmed, and photographed over Norway. Responsibility for the incident is not certain, Norwegian news stating that the light and spiral were caused by a failed Russian missile launch.\n\nReferences\n\nExternal links\nMUFON's Last 20 UFO Sightings and Pictures\n\nNorway\nHistorical events in Norway"
]
|
[
"Jesse Ventura",
"Governor of Minnesota"
]
| C_057df79150044247aec6c633be3eb5fe_1 | When did he run for governor? | 1 | When did Jesse Ventura run for governor? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | Ventura ran for Governor of Minnesota in 1998 | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
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Roosevelt High School (Minnesota) alumni | true | [
"The 2016 North Carolina election was held on November 8, 2016, to elect the Attorney General of North Carolina, concurrently with the 2016 U.S. presidential election, as well as elections to the United States Senate and elections to the United States House of Representatives and various state and local elections.\n\nIncumbent Democratic Attorney General Roy Cooper chose not to run for re-election to a fifth term in office, but instead successfully ran for Governor.\n\nPrimary elections were held on March 15, 2016.\n\nDemocratic former state senator Josh Stein defeated Republican state senator Buck Newton in the general election.\n\nDemocratic primary\nAttorney Tim Dunn had announced in November 2014 that he planned to run for attorney general if Roy Cooper did not run for re-election. Cooper did run for governor as expected, but Dunn did not make any further announcements and did not end up running.\n\nCandidates\n\nDeclared\n Josh Stein, former state senator and former deputy attorney general of North Carolina\n Marcus Williams, attorney, candidate for U.S. Senate in 2008 and 2010, candidate for NC-08 in 2012, and candidate for state senate in 2014\n\nDeclined\n Roy Cooper, incumbent Attorney General (ran for Governor)\n Tim Dunn, attorney and perennial candidate\n\nResults\n\nRepublican primary\n\nCandidates\n\nDeclared\n Buck Newton, state senator\n Jim O'Neill, Forsyth County District Attorney\n\nDeclined\n George Rouco, attorney and former CIA officer (ran for NC-09)\n\nResults\n\nGeneral election\n\nPolling\n\nResults\n\nReferences\n\nExternal links\n Buck Newton for Attorney General\n Jim O'Neill for Attorney General\n Josh Stein for Attorney General\n Marcus Williams for Attorney General\n\nAttorney General\nNorth Carolina Attorney General elections\nNorth Carolina",
"These are term limited and retiring members of the House of Representatives of the Philippines during the 18th Congress of the Philippines, who cannot or would not run in the 2022 elections.\n\nIn the Philippines, members of the House of Representatives cannot serve more than four consecutive terms. Term limited members are prohibited from running in the 2022 elections; they may run for any other positions, or may wait until the 2025 elections, or in a special election.\n\nSummary \nThere are 304 seats in the House of Representatives' delegation to the outgoing 18th Congress of the Philippines, of which 67 of these are open seats, with an additional five vacancies that have not been filled up due to lack of special elections.\n\nTerm-limited members \nThese are on their third consecutive term already and cannot run for reelection.\n\nAksyon incumbents \n\n Edgar Erice (Caloocan–2nd), running for mayor of Caloocan\n By July 2021, it was rumored that Erice was likely to run for mayor of Caloocan. Days later, Erice announced that he would indeed run for mayor.\n\nLakas incumbents \n\n Fredenil Castro (Capiz–2nd), running for governor of Capiz\n\nLDP incumbents \n\n Rodrigo Abellanosa (Cebu City–2nd)\n By March 2020, Abellanosa was said to be eyeing to run for mayor of Cebu City, or not run in 2022. Over a year later, Bando Osmeña – Pundok Kauswagan (BO-PK) was reportedly eyeing him to either run for mayor or vice mayor. Abellanosa ultimately was not included in BO-PK's local slate.\n\nLiberal incumbents \n\n Kit Belmonte (Quezon City–6th)\n Francis Gerald Abaya (Cavite–1st)\n Isagani Amatong (Zamboanga del Norte–3rd)\n\nMindoro Bago Sarili incumbents \n Paulino Salvador Leachon (Oriental Mindoro–1st), running for governor of Oriental Mindoro\n\nNacionalista incumbents \n\n Raneo Abu (Batangas–2nd)\n Sol Aragones (Laguna–3rd), running for governor of Laguna\n Abdulmunir Mundoc Arbison (Sulu–2nd)\n Mercedes Cagas (Davao del Sur)\n Eileen Ermita-Buhain (Batangas–1st)\n Ermita-Buhain is retiring.\n Jun Chipeco Jr. (Calamba)\n Lawrence Fortun (Agusan del Norte–1st), running for vice mayor of Butuan\n Jeffrey Khonghun (Zambales–1st), mayor of Castillejos, Zambales\n Jose I. Tejada (Cotabato–3rd)\n\nNPC incumbents \n\n Erico Aristotle Aumentado (Bohol–2nd), running for governor of Bohol\n It was speculated that Aumentado would run for governor of Bohol, while his wife sought to replace him as congressman from the third district. Aumentado did file to run for governor, and his wife also filed for the House seat he is term-limited as representative.\n Cheryl Deloso-Montalla (Zambales–2nd), running for governor of Zambales\n Abdullah Dimaporo (Lanao del Norte–2nd)\n Evelina Escudero (Sorsogon–1st)\n Angelina Tan (Quezon–4th), running for governor of Quezon\n In April 2021, Tan said that she was \"99.99% ready\" to run for governor of Quezon. She indeed ended up running for governor.\n Noel Villanueva (Tarlac–3rd), running for mayor of Concepcion, Tarlac\n\nNUP incumbents \n\n Alex Advincula (Cavite–3rd), running for mayor of Imus, Cavite\n Franz Alvarez (Palawan–1st)\n Wilfredo Caminero (Cebu–2nd), running for mayor of Argao, Cebu\n Leo Rafael Cueva (Negros Occidental–2nd), running for mayor of Sagay, Negros Occidental\n Luis Ferrer IV (Cavite–6th), running for mayor of General Trias, Cavite\nGavini Pancho (Bulacan–2nd)\n Abraham Tolentino (Cavite–8th), running for mayor of Tagaytay, Cavite\n Juliette Uy (Misamis Oriental–2nd), running for governor of Misamis Oriental\n Rolando Uy (Cagayan de Oro–1st), running for mayor of Cagayan de Oro\n By January 2020, Uy was seen as a leading candidate for mayor of Cagayan de Oro if he ran. Uy did file to run for mayor.\n\nPDP–Laban incumbents \n\n Benjamin Agarao Jr. (Laguna–4th), running for mayor of Santa Cruz, Laguna\n Rose Marie Arenas (Pangasinan–3rd)\nArenas is not running in 2022.\n Ferdinand Hernandez (South Cotabato–2nd), running for governor of South Cotabato\n Dulce Ann Hofer (Zamboanga Sibugay–2nd), running for governor of Zamboanga Sibugay\n Elisa Olga Kho (Masbate–2nd), running for vice governor of Masbate\n Eric Olivarez (Parañaque–1st), running for mayor of Parañaque\n Xavier Jesus Romualdo (Camiguin), running for governor of Camiguin\n Estrellita Suansing (Nueva Ecija–1st)\n Lucy Torres (Leyte–4th), running for mayor of Ormoc\n Torres was originally rumored to run for senator. However, she and her husband Ormoc mayor Richard Gomez's local organization announced that she is running for mayor, and he for the open congressional seat.\n Alfred Vargas (Quezon City–5th). running for councilor of Quezon City from the fifth district\n Vargas did not continue his run for the Senate, and was originally planning to return to private life after his third term ends. His brother, Quezon City councilor Patrick Michael, is running for the open seat in his place. He later changed his mind, running for Quezon City councilor.\n Ronaldo Zamora (San Juan)\n San Juan Mayor Francis Zamora said that his father would \"be retiring definitely\".\n\nPRP incumbents \n Rogelio Neil Roque (Bukidnon–4th), running for governor of Bukidnon\n\nParty-list incumbents \n Lito Atienza (Buhay), running for vice president of the Philippines.\n Conrado Estrella III (Abono)\n Rico Geron (AGAP)\n Joseph Stephen Paduano (Abang Lingkod)\n Carlos Isagani Zarate (Bayan Muna)\n\nRetiring incumbents \nThese were allowed defend their seats, but chose not to:\n\nAksyon incumbents \n\n Esmael Mangudadatu (Maguindanao–2nd), running for governor of Maguindanao\n\nAsenso Manileño incumbents \n Yul Servo (Manila–3rd), running for vice mayor of Manila\n\nIndependent incumbents \n Alan Peter Cayetano (Taguig-Pateros–1st), running for senator\n\nLakas incumbents \n\n Mikey Arroyo (Pampanga–2nd)\n Arroyo is retiring.\n Ramon Guico III (Pangasinan–5th), running for governor of Pangasinan\nWilter Palma II, (Zamboanga Sibugay–1st) running for governor of Zamboanga Sibugay\n\nNacionalista incumbents \nBraeden John Biron (Iloilo–4th), running for mayor of Dumangas, Iloilo\nLani Cayetano (Taguig–2nd), running for mayor of Taguig\nEduardo Gullas (Cebu–1st)\nGullas is retiring from politics.\nCorazon Nuñez Malanyaon (Davao Oriental–1st), running for governor of Davao Oriental\nVilma Santos (Batangas–6th)\nVilma Santos was eyed to run for president by the 1Sambayan convenors' group, but she declined. Her husband, Senator Ralph Recto, said on 2021 that he was mulling to swap positions with her. Recto did file to run for Santos's open seat. In her Facebook post, she announced that she no longer ran for's any elective positions.\n Frederick Siao (Iligan), running for mayor of Iligan\n\nNavoteño incumbents \n John Rey Tiangco (Navotas), running for mayor of Navotas\n\nNPC incumbents \n Lorna Bautista-Bandigan (Davao Occidental), running for vice governor of Davao Occidental\n Bayani Fernando (Marikina–1st), mayor of Marikina\n Josal Fortuno (Camarines Sur–5th)\n Not running in 2022.\n Weslie Gatchalian (Valenzuela–1st), running for mayor of Valenzuela\n Loren Legarda (Antique), running for senator.\n Dahlia Loyola (Cavite–5th), running for mayor of Carmona, Cavite.\n\nNUP incumbents \n Narciso Bravo Jr. (Masbate–1st), running for governor of Masbate\n Strike Revilla (Cavite–2nd), running for mayor of Bacoor, Cavite\n\nPDP–Laban incumbents \n Angelica Amante (Agusan del Norte–2nd), running for governor of Agusan del Norte\n Shirlyn Banas-Nograles (South Cotabato–1st), running for mayor of General Santos\n Ruffy Biazon (Muntinlupa), running for mayor of Muntinlupa\n Biazon is running under the One Muntinlupa local party.\n Joet Garcia (Bataan–2nd), running for governor of Bataan\n Dale Malapitan (Caloocan–1st), running for mayor of Caloocan\n Rogelio Pacquiao (Sarangani), running for governor of Sarangani\nJoy Tambunting (Parañaque–2nd)\nTambunting is not running in 2022.\nSharee Ann Tan (Samar–2nd), running for governor of Samar\n\nParty-list incumbents \nFor party-list incumbents, they are expected to serve out their terms unless expelled by their parties or they resign, as they are not able to run under their party-list's name in non-party-list elections.\n Eufemia Cullamat (Bayan Muna)\n Cullamat did not seek a second term.\n Mike Defensor (Anakalusugan), running for mayor of Quezon City\n Defensor is running under the Partido Federal ng Pilipinas.\n Alfredo Garbin Jr. (Ako Bicol), running for mayor of Legazpi, Albay\n Garbin was nominated by the Nationalist People's Coalition and Lakas–CMD.\n Sarah Elago (Kabataan)\n Elago is retiring since she reached the age limit of 30 for youth sector representatives.\n Rodante Marcoleta (SAGIP), running for senator\n Marcoleta is running under PDP–Laban.\nJose Singson Jr. (Probinsyano Ako), running for mayor of Vigan, Ilocos Sur\n Singson is running under the Nationalist People's Coalition.\n\nReferences \n\n2022 Philippine general election"
]
|
[
"Jesse Ventura",
"Governor of Minnesota",
"When did he run for governor?",
"Ventura ran for Governor of Minnesota in 1998"
]
| C_057df79150044247aec6c633be3eb5fe_1 | Did he wi? | 2 | Did Jesse Ventura win his bid for governor of Minnesota in 1998? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | He won the election in November 1998, | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
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Roosevelt High School (Minnesota) alumni | true | [
"William Waters (1843–1917) was an American architect who designed numerous buildings in Wisconsin that eventually were listed on the National Register of Historic Places. He was responsible for designing much of historic Oshkosh, Wisconsin. He was also responsible for designing the Wisconsin building for the Columbian Exposition. Waters died in 1917 and is buried at Riverside Cemetery in Oshkosh. After his death, Oshkosh honored him by naming the intersection of Washington Avenue and State Street as the \"William Waters Plaza\".\n\nHis works include:\n\nKing House, 421 Waugoo Ave., Oshkosh, WI\nOscar F. Crary House, 310 Waugoo Ave., Oshkosh, WI. Built in 1880. Was winner of the City of Oshkosh Acanthus Award in 1987 for Exterior Preservation completed by Daniel Beyerl, owner of the home at that time.\nHavilah Babcock House, 537 E. Wisconsin Ave., Neenah, WI\nGeorge, Sr., and Ellen Banta House, 348 Naymut St., Menasha, WI\nGeorge O. Bergstrom House, 579 E. Wisconsin Ave., Neenah, WI\nCommandant's Residence Home, Off WI 22, King, WI\nDanes Hall, 303 N. Main St., Waupaca, WI, built in 1894\nGreen Lake County Courthouse, 492 Hill St., Green Lake, WI\nRichard Guenther House, 1200 Washington Ave., Oshkosh, WI\nHearthstone, 625 W. Prospect Ave., Appleton, WI\nHotel Menasha, 177 Main St., Menasha, Wisconsin\nJessie Jack Hooper House, 1149 Algoma Blvd., Oshkosh, WI\nEllis Jennings House, 711 E. Forest Ave., Neenah, WI\nRobert Lutz House, 1449 Knapp St. \tOshkosh, WI\nOrville Beach Memorial Manual Training School, 240 Algoma Blvd., Oshkosh, WI\nOshkosh Grand Opera House, 100 High Ave., Oshkosh, WI\nOshkosh Public Museum, 1331 Algoma Blvd., Oshkosh, WI, originally the Edgar P. Sawyer residence, 1908\nOviatt House, 842 Algoma Blvd., Oshkosh, WI\nRead School, 1120 Algoma Blvd., Oshkosh, WI\nHenry Sherry House, 527 E. Wisconsin Ave., Neenah, WI\nHenry Spencer Smith House, 706 E. Forest Ave., Neenah, WI\nSmith School, 1745 Oregon St., Oshkosh, 1895\nSouth Hall, River Falls State Normal School, 320 E. Cascade Ave., River Falls, WI\nTrinity Episcopal Church, 203 Algoma Blvd., Oshkosh, WI\nThomas R. Wall Residence, 751 Algoma Blvd., Oshkosh, WI \nJohn Hart Whorton House, 315 W. Prospect Ave., Appleton, WI\nBrooklyn No. 4 Fire House, 17 W. Sixth Ave., Oshkosh, WI\nKewaunee County Sheriff's Residence and Jail, Court House Sq., jct. of Dodge and Vliet Sts., Kewaunee, WI\nPerry Lindsley House, 1102 E. Forest Ave., Neenah, WI\nGodfried Ulrich House, 308 East Wisconsin Ave., Neenah, WI\n\nHe also designed properties that contributed to the following Historic Districts:\nAlgoma Boulevard Historic District, Roughly, Algoma Blvd. from Woodland Ave. to Hollister Ave., Oshkosh, WI\nEast Forest Avenue Historic District, Generally bounded by E. Forest Ave., Webster St., Hewitt St. and Eleventh St., Neenah, WI\nIrving Church Historic District, Roughly bounded by W. Irving Ave., Franklin St., Church Ave., Wisconsin St. and Amherst Ave. , Oshkosh, WI\nMain Street Historic District, Roughly along S. and N. Main Sts. from W. Union to Granite Sts., Waupaca, WI\nNathan Strong Park Historic District, Roughly bounded by N. Wisconsin, E. Moore, N. Swetting and E. Huron Sts., Berlin, WI\nNorth Main Street Historic District, Roughly, N. Main St. from Parkway Ave. to Algoma Blvd., and Market St. NW. to High Ave., Oshkosh, WI\nVeterans Cottages Historic District, Off WI 22, King, WI\nWashington Avenue Historic District, Roughly bounded by Merritt Ave., Linde and Lampert Sts., Washington Ave., Bowen and Evan Sts., Oshkosh, WI \nWest Prospect Avenue Historic District, 315-330 West Prospect Ave., Appleton, WI\n\nReferences\n\nArchitects from Wisconsin\n1843 births\n1917 deaths",
"Neal Kedzie (born January 27, 1956) was a Republican member of the Wisconsin Senate, representing the 11th District from 2002-2014.\n\nOn May 6, 2014, Kedzie announced that he would not run for reelection; however, on June 16, 2014 he announced that he was resigning effective immediately rather than serving out his term, to accept new employment. On July 1, 2014 he became the president of the Wisconsin Motor Carriers Association.\n\nWisconsin legislature\n\nPrior to being elected to the Senate, Kedzie served three terms in the 43rd District of the Wisconsin State Assembly. During his tenure in the Assembly, Kedzie served as the Chairman of the Environment Committee, Vice-Chairman of the Joint Committee on Tax Exemptions, and served as a member on several other committees including Financial Institutions, Natural Resources, and Aging and Long Term Care.\n\nKedzie served as Chairman of the LaGrange Town Board from 1988 through 1998. He also was the Chairman of the LaGrange Planning and Zoning Commission. Kedzie was an eleven-year member of the Lauderdale-LaGrange Fire Department and currently holds the rank of Major in the Civil Air Patrol.\n\nProfessionally, Kedzie has a business and communications background having formerly worked as Local Relations Representative for Wisconsin Electric Power Company and as Commercial/Industrial Coordinator for Wisconsin Southern Gas Company.\n\nSponsored legislation\n\nAmong the statutes sponsored by Kedzie that became law during his tenure:\n2009 WI Act 360 - Sign Language Interpreter Licensure\n2005 WI Act 450 – Anti-Price Gouging\n2005 WI Act 360 – Groundwater Quality\n2005 WI Act 25 – Eliminate taxation of Social Security income (in ’05-’07 Budget)\n2005 WI Act 90 – Drug Paraphernalia\n2005 WI Act 35 – Internet Hunting\n2005 WI Act 305 – Municipal Court Collections\t\n2003 WI Act 276 – Green Tier\n2003 WI Act 137 – Aldo Leopold Weekend\n2003 WI Act 313 – Sale of deer hunt licenses\n2003 WI Act 275 – Lake Districts\n2003 WI Act 179 – Fellow Mortals\n2003 WI Act 150 – Municipal Court Collections\n2003 WI Act 312 – Drycleaner Cleanup Response Fund\n2003 WI Act 88 – Special Wastes Usage\n2003 WI Act 231 – TAF Districts\n2003 WI Act 196 – Reckless/Intentional Homicide\n2003 WI Act 244 – Firearm Sighting\n2003 WI Act 66 – Forester Education Requirements\n2003 WI Act 242 – Damaged Timber\n2001 WI Act 6 – Isolated Wetlands\n2000 WI Act 147 – Wetland Mitigation\n2000 WI Act 146 – Local Roads Grant\n1998 WI Act 142 – Credit Export Act\n2007 Senate Bill 3 - Tax Free Pension Income\n2007 Senate Bill 4 - Graduated Tax Exemption\n2007 Senate Bill 449 - DUI Vehicle Restrictions\n2007 Senate Bill 545 - Charitable Wine Auctions\n2005 Senate Bill 310 – School Bullying\n2005 Senate Bill 165 – Charter Towns\n2005 Senate Bill 465 - Postdated Worthless Checks\n\nReferences\n\nExternal links\n \n11th Senate District, Senator Kedzie in the Wisconsin Blue Book (2005–2006)\n\nWisconsin state senators\nMembers of the Wisconsin State Assembly\n1956 births\nLiving people\nPeople of the Civil Air Patrol\n21st-century American politicians\nPeople from Elkhorn, Wisconsin"
]
|
[
"Jesse Ventura",
"Governor of Minnesota",
"When did he run for governor?",
"Ventura ran for Governor of Minnesota in 1998",
"Did he wi?",
"He won the election in November 1998,"
]
| C_057df79150044247aec6c633be3eb5fe_1 | Who did he run against? | 3 | Who did Jesse Ventura run against in 1998? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
|-
1951 births
20th-century American male actors
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American political commentators
American political writers
American talk radio hosts
American television sports announcers
Critics of religions
Former Lutherans
Governors of Minnesota
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Independent state governors of the United States
John F. Kennedy conspiracy theorists
Living people
MSNBC people
Male actors from Minneapolis
Mayors of places in Minnesota
Military personnel from Minneapolis
Minnesota Greens
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National Football League announcers
Non-interventionism
People from Maple Grove, Minnesota
Politicians from Minneapolis
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Professional wrestling announcers
Radical centrist writers
Radio personalities from Minneapolis
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Writers from Minneapolis
XFL (2001) announcers
Roosevelt High School (Minnesota) alumni | false | [
"James William Cecil Turner (2 October 1886–29 November 1968) was an English first-class cricketer who played 46 matches for Worcestershire either side of the First World War, as well as appearing twice for H. K. Foster's XI.\n\nCricket career\nTurner made his debut for Worcestershire against Essex at Amblecote on 31 July 1911, scoring 27 and 11 in a crushing innings-and-228-run defeat.\nA further five appearances that season brought Turner little success, and nor did a handful more the following season. In 1913 he played a solitary match for H. K. Foster's XI, but he wasn't seen again in first-class cricket until after the First World War.\n\nTurner's return to the game, against Gloucestershire at Worcester in June 1919, saw him make his first half-century: he hit 72 in the second innings of a drawn match.\nHowever, he did not again pass 30 that season, although he did pick up the first of his two first-class wickets when he accounted for Warwickshire's Frederick Santall at Worcester at the end of August.\n\n1920 saw Turner both hit another half-century — 85 against Warwickshire in August\n— and take his other wicket — that of Sussex's George Stannard.\nThe following year, which proved to be his last in the game, Turner scored his only century, hitting 106 against Northamptonshire, though Worcestershire suffered a 356-run defeat, which as of 2007 remains Northants' greatest-ever margin of runs victory.\n\nTurner twice captained the Worcestershire side: against Warwickshire at Birmingham in 1919, and against Glamorgan at St Helens in 1921.\n\nNotes\n\nExternal links\nStatistical summary from CricketArchive\n\nEnglish cricketers\nWorcestershire cricketers\n1886 births\n1968 deaths\nPeople from Bromley\nPeople from Girton, Cambridgeshire",
"Arthur Hogg (20 June 1877 – 21 April 1956) was an English cricketer who played first-class cricket for Derbyshire in 1905 and 1906.\n\nHogg was born in Pentrich, the son of John Hogg, a coal miner and his wife Ann. He made his first appearance for Derbyshire during the 1905 season in a match against Lancashire when he scored a single run in his first innings of a drawn match. His next game was in the 1906 season against Surrey in July, when he scored a career-best of 4 in the second innings. His final game was later that season against Yorkshire when he did not score in either innings. Derbyshire lost both those matches. Hogg was a right-handed batsman and played 6 innings in 3 first-class matches with a total run count of 5.\n\nHogg died in Ripley at the age of 79.\n\nReferences\n\n1877 births\n1956 deaths\nEnglish cricketers\nDerbyshire cricketers"
]
|
[
"Jesse Ventura",
"Governor of Minnesota",
"When did he run for governor?",
"Ventura ran for Governor of Minnesota in 1998",
"Did he wi?",
"He won the election in November 1998,",
"Who did he run against?",
"the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. \"Skip\" Humphrey III (Democratic-Farmer-Labor)."
]
| C_057df79150044247aec6c633be3eb5fe_1 | What was his platform? | 4 | What was Jesse Ventura's 1998 platform? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | CANNOTANSWER | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
|-
1951 births
20th-century American male actors
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American political writers
American talk radio hosts
American television sports announcers
Critics of religions
Former Lutherans
Governors of Minnesota
Independence Party of Minnesota politicians
Independent state governors of the United States
John F. Kennedy conspiracy theorists
Living people
MSNBC people
Male actors from Minneapolis
Mayors of places in Minnesota
Military personnel from Minneapolis
Minnesota Greens
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Mongols Motorcycle Club
National Football League announcers
Non-interventionism
People from Maple Grove, Minnesota
Politicians from Minneapolis
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Professional wrestling announcers
Radical centrist writers
Radio personalities from Minneapolis
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Researchers of the assassination of John F. Kennedy
Tampa Bay Buccaneers announcers
United States Navy non-commissioned officers
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Writers from Minneapolis
XFL (2001) announcers
Roosevelt High School (Minnesota) alumni | false | [
"Dovercourt railway station is on the Mayflower Line, a branch of the Great Eastern Main Line, in the East of England, serving the seaside town of Dovercourt, Essex. It is from London Liverpool Street and is situated between to the west and to the east. Its three-letter station code is DVC.\n\nThe station is currently operated by Abellio Greater Anglia, which also runs all trains serving the station.\n\nHistory\nThe station was opened by the Eastern Union Railway on 15 August 1854 and was originally named Dovercourt. Its name was changed to Dovercourt Bay on 1 May 1913, but reverted to Dovercourt on 14 December 1972.\n\nToday passenger operations are confined to a bi-directional single electrified track, using what was the \"up\" track in the days when services through the station were operated on both tracks by steam and diesel locomotives. The unnumbered platform has an operational length for eight-coach trains. The remains of what was the \"down\" platform survive. The down platform also had a rather sizeable canopy, which was of little benefit given that most use of the platform was by passengers arriving. The bridge which linked the two platforms has since been removed. The only station beyond Dovercourt on the down side is Harwich Town, which is a relatively short walking distance. The station also had a signal box which was positioned at the west (London) end of the down platform; it controlled the occasional goods movements to short sidings at both ends of the up platform, which were used for coal and other goods deliveries to the town.\n\nServices\n the typical weekday off-peak service on the line is one train per hour in each direction, although some additional services run at peak times. Trains operate between Harwich Town and calling at all stations, although some are extended to or from and/or London Liverpool Street.\n\nReferences\n\nRailway stations in Essex\nRailway stations in Great Britain opened in 1854\nFormer Great Eastern Railway stations\nGreater Anglia franchise railway stations\nHarwich",
"Brompton Road Halt (or Brompton Road Platform) was a railway station in what is now the Richmondshire district of North Yorkshire, England. It was located on the Catterick Camp (now Catterick Garrison) sub branch of the Eryholme-Richmond branch line and served the village of Brompton-on-Swale.\n\nThe station opened together with the line in 1915 and was also known in timetables as Catterick Bridge. It was situated just south of Catterick Bridge goods yard and had a timber platform, a small booking office and a ground frame. Passengers changing trains here had to walk a short distance to or from Catterick Bridge station, through troop trains did not stop here. In 1943 it was resited south of Brompton Road. The new station had a brick and concrete platform and a ground level signal box with a four-lever frame next to the level crossing. The line closed in 1964, and the tracks were lifted in 1970. In 1988 the platform was demolished.\n\nSources\n\nExternal links\n Brompton Road 1st site and 2nd site, Disused Stations project\n\nDisused railway stations in North Yorkshire\nRailway stations in Great Britain opened in 1915\nRailway stations in Great Britain closed in 1964"
]
|
[
"Jesse Ventura",
"Governor of Minnesota",
"When did he run for governor?",
"Ventura ran for Governor of Minnesota in 1998",
"Did he wi?",
"He won the election in November 1998,",
"Who did he run against?",
"the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. \"Skip\" Humphrey III (Democratic-Farmer-Labor).",
"What was his platform?",
"I don't know."
]
| C_057df79150044247aec6c633be3eb5fe_1 | Are there any other interesting aspects about this article? | 5 | Aside from Jesse Ventura's 1998 run for governor, are there any other interesting aspects about this article? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
|-
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Roosevelt High School (Minnesota) alumni | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
]
|
[
"Jesse Ventura",
"Governor of Minnesota",
"When did he run for governor?",
"Ventura ran for Governor of Minnesota in 1998",
"Did he wi?",
"He won the election in November 1998,",
"Who did he run against?",
"the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. \"Skip\" Humphrey III (Democratic-Farmer-Labor).",
"What was his platform?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor."
]
| C_057df79150044247aec6c633be3eb5fe_1 | Did he resign? | 6 | Did Jesse Ventura resign near the end of his first term? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | Ventura quickly retreated from the comments, saying he was just floating an idea. | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
|-
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Roosevelt High School (Minnesota) alumni | true | [
"A leadership election was held in the Liberal Democratic Party of Japan on 28 September 2009 after the incumbent party leader and outgoing Prime Minister of Japan Tarō Asō announced that he would resign after losing badly in the general election held on 30 August 2009. Asō announced on 8 September he would resign on 16 September 2009, which he did as planned.\n\nCandidates\nEndorsement by at least twenty LDP lawmakers is necessary to become a candidate in the election. Since there are 387 LDP Diet members and 141 prefectural LDP representatives (three for each of the 47 prefectural chapters), there is a total of 528 votes.\n\nFormer finance minister Sadakazu Tanigaki announced on 13 September 2009 he would stand in the election. Tanigaki had also been a candidate in the 2006 leadership election, where he came in third place behind Shinzō Abe and Tarō Asō. Yasutoshi Nishimura and Tarō Kōno (son of former LDP leader Yōhei Kōno) are the other two announced candidates.\n\nFarm minister Shigeru Ishiba was also considered a possible candidate, but he did not stand.\n\nCampaign\nA public debate was held on 19 September 2009. Tanigaki was elected with 300 of 498 ballots.\n\nResults\n\n 1 invalid vote\n\nReferences\n\n2009 elections in Japan\nPolitical party leadership elections in Japan\nLiberal Democratic Party (Japan)\nIndirect elections\nLiberal Democratic Party (Japan) leadership election",
"The East Moreton colonial by-election, 1870 was a by-election held on 19 February 1870 in the electoral district of East Moreton for the Queensland Legislative Assembly.\n\nHistory\nOn 17 February 1870, Arthur Francis, member for East Moreton, resigned due to insolvency. On the nomination day for the by-election, 19 February 1870, there were two candidatesRobert Travers Atkin and Robert Cribb (who had previously represented the electorate from 1863 to 1867). In his nomination speech, Atkin made accusations against Cribb, who replied vigorously defending himself. The somewhat unexpected outcome of this verbal exchange was that Cribb announced he would withdraw his nomination. Cribb said that if Atkin believed he could represent them so well, the best thing they could do would be to let him try, predicting that Atkin would either resign or be asked to resign within six months. Being the only remaining candidate, Atkin was declared elected.\n\nCribb's six-month prediction did not come true. However, Atkin did not complete his term, as he resigned on 7 March 1872 due to serious ill health (pulmonary tuberculosis) and died soon after.\n\nSee also\n Members of the Queensland Legislative Assembly, 1868–1870\n\nReferences\n\n1870 elections in Australia\nQueensland state by-elections\n1870s in Queensland"
]
|
[
"Jesse Ventura",
"Governor of Minnesota",
"When did he run for governor?",
"Ventura ran for Governor of Minnesota in 1998",
"Did he wi?",
"He won the election in November 1998,",
"Who did he run against?",
"the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. \"Skip\" Humphrey III (Democratic-Farmer-Labor).",
"What was his platform?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor.",
"Did he resign?",
"Ventura quickly retreated from the comments, saying he was just floating an idea."
]
| C_057df79150044247aec6c633be3eb5fe_1 | Did he have any controversy? | 7 | Did Jesse Ventura have any controversy surrounding his governorship? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | CANNOTANSWER | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
|-
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Roosevelt High School (Minnesota) alumni | false | [
"The terms email controversy or email scandal might refer to any of the following:\n\nOkinawa email controversy, US Military (2001)\nClimatic Research Unit email controversy, International science (2001)\nBush White House email controversy, US politics (2007)\nLee Abrams email controversy, US media (2010)\nHillary Clinton email controversy, US politics (2015)\nShiva Ayyadurai email controversy, US media (2016)",
"Copenhagen shootings may refer to any of these shooting incidents that have occurred in Copenhagen:\n\n 1996 Copenhagen Airport shooting\n 2015 Copenhagen shootings\n 2016 Copenhagen shooting\n\nSee also \n Lars Vilks Muhammad drawings controversy\n Royal Copenhagen Shooting Society"
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|
[
"Jesse Ventura",
"Governor of Minnesota",
"When did he run for governor?",
"Ventura ran for Governor of Minnesota in 1998",
"Did he wi?",
"He won the election in November 1998,",
"Who did he run against?",
"the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. \"Skip\" Humphrey III (Democratic-Farmer-Labor).",
"What was his platform?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor.",
"Did he resign?",
"Ventura quickly retreated from the comments, saying he was just floating an idea.",
"Did he have any controversy?",
"I don't know."
]
| C_057df79150044247aec6c633be3eb5fe_1 | Were there any scandals during his campaign | 8 | Were there any scandals during Jesse Ventura's governorship campaign? | Jesse Ventura | Ventura ran for Governor of Minnesota in 1998 as the nominee for the Reform Party of Minnesota (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign. He won the election in November 1998, narrowly (and unexpectedly) defeating the major-party candidates, St. Paul mayor Norm Coleman (Republican) and Minnesota Attorney General Hubert H. "Skip" Humphrey III (Democratic-Farmer-Labor). During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his frequently controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity. After a trade mission to China in 2002, Ventura announced that he would not run for a second term, stating that he no longer felt dedicated enough to his job to run again as well as what he viewed were constant attacks on his family by the media. Ventura accused the media of hounding him and his family for personal behavior and belief while neglecting coverage of important policy issues. He later told a reporter for The Boston Globe that he would have run for a second term if he had been single, citing the media's effect on his family life. Governor Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further stated that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors. Ventura quickly retreated from the comments, saying he was just floating an idea. CANNOTANSWER | CANNOTANSWER | Jesse Ventura (born James George Janos; July 15, 1951) is an American politician, military veteran, actor, television presenter, political commentator, author, and retired professional wrestler. After achieving fame in the World Wrestling Federation (WWF), he served as the 38th governor of Minnesota from 1999 to 2003. He was elected governor with the Reform Party and is the party's only candidate to win a major government office.
Ventura was a member of the U.S. Navy Underwater Demolition Team during the Vietnam War. After leaving the military, he embarked on a professional wrestling career from 1975 to 1986, taking the ring name "Jesse 'The Body' Ventura". He had a lengthy tenure in the WWF/WWE as a performer and color commentator and was inducted into the WWE Hall of Fame class of 2004. In addition to wrestling, Ventura pursued an acting career, appearing in films such as Predator and The Running Man (both 1987).
Ventura entered politics in 1991 when he was elected mayor of Brooklyn Park, Minnesota, a position he held until 1995. He was the Reform Party candidate in the 1998 Minnesota gubernatorial election, running a low-budget campaign centered on grassroots events and unusual ads that urged citizens not to "vote for politics as usual". In a major upset, Ventura defeated both the Democratic and Republican nominees. Amid internal fights for control over the party, Ventura left the Reform Party a year after taking office and served the remainder of his governship with the Independence Party of Minnesota. Since holding public office, Ventura has called himself a "statesman" rather than a politician.
As governor, Ventura oversaw reforms of Minnesota's property tax as well as the state's first sales tax rebate. Other initiatives he took included construction of the METRO Blue Line light rail in the Minneapolis–Saint Paul metropolitan area and income tax cuts. Ventura did not run for reelection. After leaving office in 2003, he became a visiting fellow at Harvard University's John F. Kennedy School of Government. He has since hosted a number of television shows and written several books. Ventura remains politically active, having hosted political shows on RT America and Ora TV, and has repeatedly floated the idea of running for president of the United States as a third-party or independent candidate.
In late April 2020, Ventura endorsed the Green Party in the 2020 presidential election and showed interest in running for its nomination. He officially joined the Green Party of Minnesota on May 2. On May 7, he confirmed he would not run. The Alaskan division of the Green Party nominated Ventura without his involvement, causing the national party to disown it for abandoning its nominee Howie Hawkins.
Early life
Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (née Lenz). Both his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak since his father's parents were from Kingdom of Hungary; his mother was of German descent. Ventura was raised as a Lutheran. Born in South Minneapolis "by the Lake Street bridge," he attended Cooper Elementary School, Sanford Junior High School, and graduated from Roosevelt High School in 1969. Roosevelt High School inducted Ventura into its first hall of fame in September 2014.
Ventura served in the United States Navy from December 1, 1969, to September 10, 1975, during the Vietnam War, but did not see combat. He graduated in BUD/S class 58 in December 1970 and was part of Underwater Demolition Team 12.
Ventura has frequently referred to his military career in public statements and debates. He was criticized by hunters and conservationists for saying in a 2001 interview with the Minneapolis Star Tribune, "Until you have hunted men, you haven't hunted yet."
Post-Navy
Near the end of his Navy service, Ventura began to spend time with the "South Bay" chapter of the Mongols motorcycle club in San Diego. He would ride onto Naval Base Coronado on his Harley-Davidson wearing his Mongol colors. According to Ventura, he was a full-patch member of the club and third-in-command of his chapter, but never had any problems with the authorities. In the fall of 1974, Ventura left the bike club to return to the Twin Cities. Shortly after that, the Mongols entered into open warfare with their biker rivals, the Hells Angels.
Ventura attended North Hennepin Community College in Brooklyn Park, Minnesota in suburban Minneapolis during the mid-1970s. At the same time, he began weightlifting and wrestling. He was a bodyguard for The Rolling Stones for a time before he entered professional wrestling and adopted the wrestling name Jesse Ventura.
Professional wrestling career
Early career
Ventura created the stage name Jesse "The Body" Ventura to go with the persona of a bully-ish beach bodybuilder, picking the name "Ventura" from a map as part of his "bleach blond from California" gimmick. As a wrestler, Ventura performed as a heel and often used the motto "Win if you can, lose if you must, but always cheat!", a motto he emblazoned on his t-shirts. Much of his flamboyant persona was adapted from Superstar Billy Graham, a charismatic and popular performer during the 1970s. Years later, as a broadcaster, Ventura made a running joke out of claiming that Graham stole all his ring attire ideas from him.
In 1975, Ventura made his debut in the Central States territory, before moving to the Pacific Northwest, where he wrestled for promoter Don Owen as Jesse "The Great" Ventura. During his stay in Portland, Oregon, he had notable feuds with Dutch Savage and Jimmy Snuka and won the Pacific Northwest Wrestling title twice (once from each wrestler) and the tag team title five times (twice each with Bull Ramos and "Playboy" Buddy Rose, and once with Jerry Oates). He later moved to his hometown promotion, the American Wrestling Association in Minnesota, and began teaming with Adrian Adonis as the "East-West Connection" in 1979. In his RF Video shoot in 2012, he revealed that shortly after he arrived in the AWA he was given the nickname "the Body" by Verne Gagne. The duo won the AWA World Tag Team Championship on July 20, 1980, on a forfeit when Gagne, one-half of the tag team champions along with Mad Dog Vachon, failed to show up for a title defense in Denver, Colorado. The duo held the belts for nearly a year, losing to "The High Flyers" (Greg Gagne and Jim Brunzell).
Move to the WWF, retirement, and commentary
Shortly after losing the belts, the duo moved on to the World Wrestling Federation, where they were managed by Freddie Blassie. Although the duo was unable to capture the World Tag Team Championship, both Adonis and Ventura became singles title contenders, each earning several title shots at World Heavyweight Champion Bob Backlund.
Ventura continued to wrestle until September 1984 after 3 back-to-back losses to world champion Hulk Hogan, when blood clots in his lungs effectively ended his in-ring career. He claimed that the clots were a result of his exposure to Agent Orange during his time in Vietnam. Ventura returned to the ring in 1985, forming a tag-team with Randy Savage and Savage's manager (and real-life wife) Miss Elizabeth. Often after their televised matches Ventura taunted and challenged fellow commentator Bruno Sammartino, but nothing ever came of this.
Ventura participated in a six-man tag-team match in December 1985 when he, Roddy Piper, and Bob Orton defeated Hillbilly Jim, Uncle Elmer, and Cousin Luke in a match broadcast on Saturday Night's Main Event IV. The tag match against the Hillbillies came about after Piper and Orton interrupted Elmer's wedding ceremony on the previous edition of the show; Ventura, who later claimed that he was under instruction from fellow commentator and WWF owner Vince McMahon to "bury them", insulted Elmer and his wife during commentary of a real wedding ceremony at the Meadowlands Arena, by proclaiming when they kissed: "It looks like two carp in the middle of the Mississippi River going after the same piece of corn." According to Ventura, the wedding was real, for at that time the New Jersey State Athletic Control Board would not allow the WWF to stage a fake wedding in the state of New Jersey, so Stan Frazier (Uncle Elmer) and his fiancee had agreed to have a real in-ring wedding.
After a failed comeback bid, Ventura hosted his own talk segment on the WWF's Superstars of Wrestling called "The Body Shop", in much the same heel style as "Piper's Pit", though the setting was a mock gym (when Ventura was unavailable, "The Body Shop" was often hosted by Don Muraco). He began to do color commentary on television for All-Star Wrestling, replacing Angelo Mosca, and later Superstars of Wrestling, initially alongside Vince McMahon and the semi-retired Sammartino, and then just with McMahon after Sammartino's departure from the WWF in early 1988. Ventura most notably co-hosted Saturday Night's Main Event with McMahon, the first six WrestleManias (five of which were alongside Gorilla Monsoon), and most of the WWF's pay-per-views at the time with Monsoon, with the lone exception for Ventura being the first SummerSlam, in which he served as the guest referee during the main event.
Ventura's entertaining commentary style was an extension of his wrestling persona, i.e. a "heel", as he was partial to the villains, something new and different at the time. McMahon, who was always looking for ways of jazzing things up, came up with the idea of Ventura doing heel commentary at a time when most commentators, including McMahon himself, openly favored the fan favorites.
But Ventura still occasionally gave credit where it was due, praising the athleticism of fan favorites such as Ricky Steamboat and Randy Savage, who was championed by Ventura for years, even when he was a face, a point Ventura regularly made on-air to McMahon and Monsoon. Occasionally he would even acknowledge mistakes made by the heels, including those made by his personal favorites such as Savage or wrestlers managed by heels Bobby Heenan and Jimmy Hart.
One notable exception to this rule was the WrestleMania VI Ultimate Challenge title for title match between WWF Champion Hulk Hogan and the WWF Intercontinental Champion, The Ultimate Warrior. Since they were both fan favorites, Ventura took a neutral position in his commentary, even praising Hogan's display of sportsmanship at the end of the match when he handed over the WWF Championship belt to the Warrior after he lost the title, stating that Hogan was going out like a true champion. During the match, however, which was also the last match at Wrestlemania he called, Ventura did voice his pleasure when both broke the rules, at one point claiming, "This is what I like. Let the two goody two-shoes throw the rule book out and get nasty." Ventura's praise of Hogan's action was unusual for him, because he regularly rooted against Hogan during his matches, usually telling fellow commentator Monsoon after Hogan had won a championship match at a Wrestlemania that he might "come out of retirement and take this dude out".
Hogan and Ventura were at one point close friends, but Ventura abruptly ended the friendship in 1994 after he discovered, during his lawsuit against McMahon, that Hogan was the one who had told McMahon about Ventura's attempt to form a labor union in 1984. Following a dispute with McMahon over the use of his image for promoting a Sega product, while McMahon had a contract with rival company Nintendo at the time, the promoter released Ventura from the company in August 1990.
Ventura later served as a radio announcer for a few National Football League teams, among them the Minnesota Vikings and Tampa Bay Buccaneers.
In February 1992 at SuperBrawl II, Ventura joined World Championship Wrestling as a commentator. WCW President Eric Bischoff ultimately released him for allegedly falling asleep during a WCW Worldwide TV taping at Disney MGM Studios in July 1994, but it has been speculated that the move may have had more to do with Hogan's arrival shortly before.
Litigation
In 1987, while negotiating his contract as a WWF commentator, Ventura waived his rights to royalties on videotape sales when he was falsely told that only feature performers received such royalties. In November 1991, having discovered that other non-feature performers received royalties, Ventura brought an action for fraud, misappropriation of publicity rights, and quantum meruit in Minnesota state court against Titan Sports, asking for $2 million in royalties based on a fair market value share. Titan moved the case to federal court, and Ventura won an $801,333 jury verdict on the last claim. In addition, the judge awarded him $8,625 in back pay for all non-video WWF merchandising featuring Ventura. The judgment was affirmed on appeal, and the case, 65 F.3d 725 (8th Cir.1995), is an important result in the law of restitution. As a result, Ventura's commentary is removed on most releases from WWE Home Video.
Return to the WWF/WWE
In mid-1999, Ventura reappeared on WWF television during his term as governor of Minnesota, acting as the special guest referee for main event of SummerSlam held in Minneapolis. Ventura continued his relationship with the WWF by performing commentary for Vince McMahon's short-lived XFL. On the June 4, 2001, episode of Raw which aired live from Minnesota, Ventura appeared to overrule McMahon's authority and approve a WWF Championship match between then-champion Stone Cold Steve Austin and Chris Jericho. On the March 20, 2003, episode of SmackDown!, Ventura appeared in a taped interview to talk about the match between McMahon and Hogan at WrestleMania XIX. On March 13, 2004, he was inducted into the WWE Hall of Fame, and the following night at WrestleMania XX, he approached the ring to interview Donald Trump, who had a front-row seat at the event. Trump affirmed that Ventura would receive his moral and financial support were he to ever reenter politics. Alluding to the 2008 election, Ventura boldly announced, "I think we oughta put a wrestler in the White House in 2008!". Ventura was guest host on the November 23, 2009, episode of Raw, during which he retained his heel persona by siding with the number one contender Sheamus over WWE Champion John Cena. This happened while he confronted Cena about how it was unfair that Cena always got a title shot in the WWE, while Ventura never did during his WWE career. After that, Sheamus attacked Cena and put him through a table. Ventura then made the match a Table match at TLC: Tables, Ladders and Chairs. During the show, for the first time in nearly 20 years, McMahon joined Ventura ringside to provide match commentary together.
Acting career
Near the end of his wrestling career, Ventura began an acting career. He appeared in the movie Predator (1987), whose cast included future California Governor Arnold Schwarzenegger and future Kentucky gubernatorial candidate Sonny Landham. Ventura became close friends with Schwarzenegger during the production of Predator. He appeared in two episodes of Zorro filmed in Madrid, Spain, in 1991. He had a starring role in the 1990 sci-fi movie Abraxas, Guardian of the Universe. He had supporting roles in The Running Man, Thunderground, Demolition Man, Repossessed, Ricochet, The Master of Disguise (in which he steals the Liberty Bell), and Batman & Robin—the first and last of these also starring Schwarzenegger. Ventura made a cameo appearance in Major League II as "White Lightning". He appeared as a self-help guru (voice only) in The Ringer, trying to turn Johnny Knoxville into a more confident worker. Ventura had a cameo in The X-Files episode "Jose Chung's From Outer Space" as a Man in Black alongside fellow 'MiB' Alex Trebek. In 2008, Ventura was in the independent comedy Woodshop, starring as high school shop teacher Mr. Madson. The film was released September 7, 2010.
Filmography
Other media
Ventura was a bodyguard for the Rolling Stones in the late 1970s and '80s. Mick Jagger said of Ventura, "He's done us proud, hasn't he? He's been fantastic."
In the late '80s, Ventura appeared in a series of Miller Lite commercials.
In 1989, Ventura co-hosted the four episodes of the DiC Entertainment children's program Record Breakers: World of Speed along with Gary Apple. In 1991, the pilot episode for Tag Team, a television program about two ex-professional wrestlers turned police officers, starred Ventura and Roddy Piper.
Ventura also co-hosted the short-lived syndicated game show The Grudge Match alongside sportscaster Steve Albert.
Between 1995 and 1998, Ventura had radio call-in shows on KFAN 1130 and KSTP 1500 in Minneapolis–Saint Paul. He also had a brief role on the television soap opera The Young and the Restless in 1999.
Ventura has been criticized by the press for profiting from his heightened popularity. He was hired as a television analyst for the failed XFL football league in 2001, served as a referee at a WWF SummerSlam match in 1999, and published several books during his tenure as governor. On his weekly radio show, he often criticized the media for focusing on these deals rather than his policy proposals.
From 2009 to 2012, TruTV aired three seasons of the television series Conspiracy Theory with Jesse Ventura.
Ventura had a guest spot on an episode of the 2012 rebooted Teenage Mutant Ninja Turtles animated series on Nickelodeon.
In 2013, Ventura announced a new show, Jesse Ventura: Uncensored, which launched on January 27, 2014, and later renamed Off the Grid, and aired until 2016 on Ora TV, an online video on demand network founded by Larry King.
Since 2017, he has been the host of the show The World According to Jesse on RT America.
Political career
Mayor of Brooklyn Park
Following his departure from the WWF, Ventura took advice from a former high school teacher and ran for mayor of Brooklyn Park, Minnesota in 1990. He defeated the city's 25-year incumbent mayor and served from 1991 to 1995.
Governor of Minnesota
Ventura ran for governor of Minnesota in 1998 as the Reform Party of Minnesota nominee (he later joined the Independence Party of Minnesota when the Reform Party broke from its association with the Reform Party of the United States of America). His campaign consisted of a combination of aggressive grassroots events organized in part by his campaign manager Doug Friedline and original television spots, designed by quirky adman Bill Hillsman, using the phrase "Don't vote for politics as usual." He spent considerably less than his opponents (about $300,000) and was a pioneer in his using the Internet as a medium of reaching out to voters in a political campaign.
He won the election in November 1998, narrowly and unexpectedly defeating the major-party candidates, Republican St. Paul mayor Norm Coleman and Democratic-Farmer-Labor Attorney General Hubert H. "Skip" Humphrey III. During his victory speech, Ventura famously declared, "We shocked the world!" After his election, bumper stickers and T-shirts bearing the slogan "My governor can beat up your governor" appeared in Minnesota. The nickname "Jesse 'The Mind'" (from a last-minute Hillsman ad featuring Ventura posing as Rodin's Thinker) began to resurface sarcastically in reference to his often controversial remarks. Ventura's old stage name "Jesse 'The Body'" (sometimes adapted to "Jesse 'The Governing Body'") also continued to appear with some regularity.
After a trade mission to China in 2002, Ventura announced that he would not run for a second term, saying that he no longer felt dedicated enough to his job and accusing the media of hounding him and his family for personal behavior and beliefs while neglecting coverage of important policy issues. He later told a Boston Globe reporter that he would have run for a second term if he had been single, citing the media's effect on his family life.
Ventura sparked media criticism when, nearing the end of his term, he suggested that he might resign from office early to allow his lieutenant governor, Mae Schunk, an opportunity to serve as governor. He further said that he wanted her to be the state's first female governor and have her portrait painted and hung in the Capitol along with the other governors'. Ventura quickly retreated from the comments, saying he was just floating an idea.
Political positions as governor
In political debates, Ventura often admitted that he had not formed an opinion on certain policy questions. He often called himself as "fiscally conservative and socially liberal." He selected teacher Mae Schunk as his running mate.
Lacking a party base in the Minnesota House of Representatives and Senate, Ventura's policy ambitions had little chance of being introduced as bills. He vetoed 45 bills in his first year, only three of which were overridden. The reputation for having his vetoes overridden comes from his fourth and final year, when six of his nine vetoes were overturned. Nevertheless, Ventura succeeded with some of his initiatives. One of the most notable was the rebate on sales tax; each year of his administration, Minnesotans received a tax-free check in the late summer. The state was running a budget surplus at the time, and Ventura believed the money should be returned to the public.
Later, Ventura came to support a unicameral (one-house) legislature, property tax reform, gay rights, medical marijuana, and abortion rights. While funding public school education generously, he opposed the teachers' union, and did not have a high regard for public funding of higher education institutions.
In an interview on The Howard Stern Show, he reaffirmed his support of gay rights, including marriage and military service, humorously stating he would have gladly served alongside homosexuals when he was in the Navy as they would have provided less competition for women. Later, on the subject of a 2012 referendum on amending the Minnesota Constitution to limit marriage to male-female couples, Ventura said, "I certainly hope that people don't amend our constitution to stop gay marriage because, number one, the constitution is there to protect people, not oppress them", and related a story from his wrestling days of a friend who was denied hospital visitation to his same-sex partner.
During the first part of his administration, Ventura strongly advocated for land-use reform and substantial mass transit improvements, such as light rail.
During another trade mission to Cuba in the summer of 2002, he denounced the United States embargo against Cuba, saying the embargo affected the Cuban public more than it did its government.
Ventura, who ran on a Reform Party ticket and advocated for a greater role for third parties in American politics, is highly critical of both Democrats and Republicans. He has called both parties "monsters that are out of control", concerned only with "their own agendas and their pork."
In his book Independent Nation, political analyst John Avlon describes Ventura as a radical centrist thinker and activist.
Wellstone memorial
Ventura greatly disapproved of some of the actions that took place at the 2002 memorial for Senator Paul Wellstone, his family, and others who died in a plane crash on October 25, 2002. Ventura said, "I feel used. I feel violated and duped over the fact that the memorial ceremony turned into a political rally". He left halfway through the controversial speech made by Wellstone's best friend, Rick Kahn. Ventura had initially planned to appoint a Democrat to Wellstone's seat, but instead appointed Dean Barkley to represent Minnesota in the Senate until Wellstone's term expired in January 2003. Barkley was succeeded by Norm Coleman, who won the seat against Walter Mondale, who replaced Wellstone as the Democratic nominee a few days before the election.
Criticisms of tenure as governor
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove.
In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, the Chief Justice must review recall petitions for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied on the ground that there was no statutory authority for such an award.
Ventura was also criticized for mishandling the Minnesota state budget, with Minnesota state economist Tom Stinson noting that the statewide capital gain fell from $9 billion to $4 billion between 2000 and 2001. In 2002, Ventura's poor handling of the Minnesota state budget was also exploited at the national level by CNN journalist Matthew Cooper. When Ventura left office in 2003, Minnesota had a $4.2 billion budget deficit, compared to the $3 billion budget surplus when Ventura took office in 1999.
In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During the press conference, he said he would "never stand for a national anthem again. I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics. Jesse Ventura will do that today."
During his tenure as governor, Ventura drew frequent fire from the Twin Cities press. He called reporters "media jackals," a term that even appeared on the press passes required to enter the his press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about him, Me: Jimmy (Big Boy) Valente, depicting a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Ventura initially responded angrily to the satire, but later said Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, saying it was not intended to be taken seriously.
Consideration of bids for other political offices
While Ventura has not held public office since the end of his term as governor in 2003, he has remained politically active and occasionally hinted at running for political office. In an April 7, 2008, interview on CNN's The Situation Room, Ventura said he was considering entering the race for the United States Senate seat then held by Norm Coleman, his Republican opponent in the 1998 gubernatorial race. A Twin Cities station Fox 9 poll put him at 24%, behind Democratic candidate Al Franken at 32% and Coleman at 39% in a hypothetical three-way race. On Larry King Live on July 14, 2008, Ventura said he would not run, partly out of concern for his family's privacy. Franken won the election by a very narrow margin.
In his 1999 autobiography I Ain't Got Time to Bleed, Ventura suggested that he did not plan to run for president of the United States but did not rule it out. In 2003, he expressed interest in running for president while accepting an award from the International Wrestling Institute and Museum in Newton, Iowa. He spoke at Republican presidential candidate Ron Paul's "Rally for the Republic", organized by the Campaign for Liberty, on September 2, 2008, and implied a possible future run for president. At the end of his speech, Ventura announced if he saw that the public was willing to see a change in the direction of the country, then "in 2012 we'll give them a race they'll never forget!" In 2011, Ventura expressed interest in running with Ron Paul in the 2012 presidential election if Paul would run as an independent. On November 4, 2011, Ventura said at a press conference about the dismissal of his court case against the Transportation Security Administration for what he claimed were illegal searches of air travelers that he was "thinking about" running for president. There were reports that the Libertarian Party officials had tried to persuade Ventura to run for president on a Libertarian ticket, but party chairman Mark Hinkle said, "Jesse is more interested in 2016 than he is in 2012. But I think he's serious. If Ron Paul ran as a Libertarian, I think he definitely would be interested in running as a vice presidential candidate. He's thinking, 'If I run as the vice presidential candidate under Ron Paul in 2012, I could run as a presidential candidate in 2016'."
David Gewirtz of ZDNet wrote in a November 2011 article that he thought Ventura could win if he declared his intention to run at that point and ran a serious campaign, but that it would be a long shot.
In late 2015, Ventura publicly flirted with the idea of running for president in 2016 as a Libertarian but allowed his self-imposed deadline of May 1 to pass. He also expressed an openness to be either Donald Trump's running mate or Bernie Sanders's running mate in 2016. Ventura tried to officially endorse Sanders but his endorsement was rejected. Ventura then endorsed former New Mexico Governor Gary Johnson, the Libertarian nominee, saying, "Johnson is a very viable alternative" and "This is the year for a third-party candidate to rise if there ever was one." But in the general election he voted for Jill Stein, the Green Party nominee.
Unauthorized 2020 presidential campaign
Ventura expressed interest in running for president again in 2020, but said he would do so only under the Green Party banner. "The [Green Party] has shown some interest. I haven't made a decision yet because it's a long time off. If I do do it, Trump will not have a chance. For one, Trump knows wrestling. He participated in two WrestleManias. He knows he can never out-talk a wrestler, and he knows I'm the greatest talker wrestling's ever had."
On April 27, 2020, Ventura submitted a letter of interest to the Green Party Presidential Support Committee, the first step to seeking the Green Party's presidential nomination. In May, he announced that he would not run for health reasons, explaining that he would lose his employer-provided health insurance.
Ventura said he would write in his own name in the presidential election, but would support Green candidates in down-ballot races. He said he "refuse[s] to vote for 'the lesser of two evils' because in the end, that's still choosing evil." Ventura received seven presidential delegate votes at the 2020 Green National Convention, having been awarded them through write-in votes in the 2020 Green primaries. Despite the national Green Party nominating Howie Hawkins for president and Angela Nicole Walker for vice president, the Green Party of Alaska nominated Ventura and former representative Cynthia McKinney without Ventura's consent. Ventura and McKinney received 0.7% of the Alaska popular vote.
Political views
Bush Administration and torture
In a May 11, 2009, interview with Larry King, Ventura twice said that George W. Bush was the worst president of his lifetime, adding "President Obama inherited something I wouldn't wish on my worst enemy. You know? Two wars, an economy that's borderline depression." On the issue of waterboarding, Ventura added:
Questions about 9/11
In April and May 2008, in several radio interviews for his new book Don't Start the Revolution Without Me, Ventura expressed concern about what he called unanswered questions about 9/11. His remarks about the possibility that the World Trade Center was demolished with explosives were repeated in newspaper and television stories after some of the interviews.
On May 18, 2009, when asked by Sean Hannity of Fox News how George W. Bush could have avoided the September 11 attacks, Ventura answered, "And there it is again—you pay attention to memos on August 6th that tell you exactly what bin Laden's gonna do."
On April 9, 2011, when Piers Morgan of CNN asked Ventura for his official view of the events of 9/11, Ventura said, "My theory of 9/11 is that we certainly—at the best we knew it was going to happen. They allowed it to happen to further their agenda in the Middle East and go to these wars."
Other endeavors
Post-gubernatorial life
Ventura was succeeded in office on January 6, 2003, by Republican Tim Pawlenty.
In October 2003 he began a weekly MSNBC show, Jesse Ventura's America; the show was canceled after a couple of months. Ventura has alleged it was canceled because he opposed the Iraq War. MSNBC honored the balance of his three-year contract, legally preventing him from doing any other TV or news shows.
On October 22, 2004, with Ventura by his side, former Maine Governor Angus King endorsed John Kerry for president at the Minnesota state capitol building. Ventura did not speak at the press conference. When prodded for a statement, King responded, "He plans to vote for John Kerry, but he doesn't want to make a statement and subject himself to the tender mercies of the Minnesota press". In the 2012 Senate elections, Ventura endorsed King in his campaign for the open Senate seat in Maine, which King won.
In November 2004, an advertisement began airing in California featuring Ventura, in which he voiced his opposition to then-Governor Arnold Schwarzenegger's policies regarding Native American casinos. Ventura served as an advisory board member for a group called Operation Truth, a nonprofit organization set up "to give voice to troops who served in Iraq." "The current use of the National Guard is wrong....These are men who did not sign up to go occupy foreign nations".
In August 2005, Ventura became the spokesperson for BetUS, an online sportsbook.
On December 29, 2011, Ventura announced his support for Ron Paul on The Alex Jones Show in the 2012 presidential election as "the only anti-war candidate." Like Paul, Ventura is known for supporting a less interventionist foreign policy. But after Mitt Romney became the presumptive Republican nominee in May 2012, Ventura gave his support to Libertarian candidate Gary Johnson on June 12, 2012, whom Ventura argued was the choice for voters who "really want to rebel."
In September 2012, Ventura and his wife appeared in an advertisement calling for voters to reject a referendum to be held in Minnesota during the November elections that amend the state constitution to ban same-sex marriage. The referendum was defeated.
Books
Ventura wrote several other books after leaving office. On April 1, 2008, his Don't Start the Revolution Without Me was released. In it, Ventura describes a hypothetical campaign in which he is an independent candidate for president of the United States in 2008. In an interview with the Associated Press at the time of the book's release, Ventura denied any plans for a presidential bid, saying that the scenario was only imaginary and not indicative of a "secret plan to run". On MinnPost.com, Ventura's agent, Steve Schwartz, said of the book, "[Ventura is revealing] why he left politics and discussing the disastrous war in Iraq, why he sees our two-party system as corrupt, and what Fidel Castro told him about who was really behind the assassination of President Kennedy."
Ventura also wrote DemoCRIPS and ReBLOODlicans: No More Gangs in Government, which was released on June 11, 2012. The book expresses Ventura's opposition to the two-party system and calls for political parties to be abolished.
On September 6, 2016, Jesse Ventura's Marijuana Manifesto was released, making the case for the legalization of cannabis and detailing the various special interests that benefit from keeping it illegal.
Conspiracy Theory with Jesse Ventura
In December 2009, Ventura hosted TruTV's new show Conspiracy Theory with Jesse Ventura. "Ventura will hunt down answers, plunging viewers into a world of secret meetings, midnight surveillance, shifty characters and dark forces," truTV said in a statement. On the program, Ventura traveled the country, investigating cases and getting input from believers and skeptics before passing judgment on a theory's validity. According to TruTV, the first episode drew 1.6 million viewers, a record for a new series on the network.
The first season was followed by a second in 2010 and a third in 2012. After three seasons, the show was discontinued in 2013, but as of 2017 it is still shown worldwide on satellite TV.
We The People podcast
On July 31, 2014, Ventura launched a weekly podcast, We The People, distributed by Adam Carolla's "Carolla Digital", which ran until March 4, 2015. Guests included Larry King, Bill Goldberg, Chris Jericho, Roddy Piper, Donald Trump, Mark Dice, and leading members of the 9/11 Truth movement.
Disputes
Navy SEAL background
Bill Salisbury, an attorney in San Diego and a former Navy SEAL officer, has accused Ventura of "pretending" to be a SEAL. He wrote that Ventura blurred an important distinction by claiming to be a SEAL when he was actually a frogman with the UDT. Compared to SEAL teams, UDTs saw less combat and took fewer casualties.
Salisbury described Ventura's Navy training thus:[Ventura] took a screening test at boot camp to qualify for...Basic Underwater Demolition/SEAL (BUD/S) training...Those who completed BUD/S, when [Ventura] was in training, were sent to either a SEAL or an underwater demolition team. Graduation did not, however, authorize the trainee to call himself a SEAL or a UDT frogman. He had to first successfully complete a six-month probationary period in the Teams.Ventura underwent BUD/S training and was assigned to a UDT team. He received the NEC 5321/22 UDT designation given after a six-month probationary period completed with Underwater Demolition Team 12. He was never granted the Navy Enlisted Classification (NEC) 5326 Combatant Swimmer (SEAL) designation, which requires a six-month probationary period with SEAL TEAM ONE or TWO. In 1983, eight years after Ventura left the Navy, the UDTs were disbanded and those operators were retrained and retasked as SEALs.
Responding to the controversy, Ventura's office confirmed that he was a member of the UDT. His spokesman said that Ventura has never tried to convince people otherwise. Ventura said, "Today we refer to all of us as SEALs. That's all it is." He dismissed the accusations of lying about being a SEAL as "much ado about nothing".
Former Navy SEAL Brandon Webb, the editor of the website SOFREP.com, wrote in a column on the site, "Jesse Ventura graduated with Basic Underwater Demolition Class 58 and, like it or not, he earned his status." He disagreed with the argument that Ventura was a UDT and not a SEAL, saying "try telling that to a WWII UDT veteran who swam ashore before the landing craft on D-Day." "The UDTs and SEALs are essentially one and the same. It's why the UDT is still part of the training acronym BUD/S", Webb wrote.
Lawsuit against the TSA
In January 2011, Ventura filed a lawsuit against the Transportation Security Administration, seeking a declaration that the agency's new controversial pat-down policy violated citizens' Fourth Amendment rights and an injunction to bar the TSA from subjecting him to the pat-down procedures. Ventura received a titanium hip replacement in 2008 that sets off metal detectors at airport security checkpoints.
The U.S. district court dismissed the suit for lack of jurisdiction in November 2011, ruling that "challenges to TSA orders, policies and procedures" must be brought only in the U.S. courts of appeals. After the court's ruling, Ventura held a press conference in which he called the federal judges cowards; said he no longer felt patriotic and would henceforth refer to the U.S. as the "Fascist States of America"; said he would never take commercial flights again; said he would seek dual citizenship in Mexico; and said he would "never stand for a national anthem again" and would instead raise a fist.
Chris Kyle dispute
During an interview on Opie and Anthony in January 2012 to promote his book American Sniper, former Navy SEAL Chris Kyle said he had punched Ventura in 2006 at McP's, a bar in Coronado, California, during a wake for Michael A. Monsoor, a fellow SEAL who had been killed in Iraq. According to Kyle, Ventura was vocally expressing opposition to the War in Iraq. Kyle, who wrote about the alleged incident in his book but did not mention Ventura by name, said he approached Ventura and asked him to tone down his voice because the families of SEAL personnel were present, but that Ventura responded that the SEALs "deserved to lose a few guys." Kyle said he then punched Ventura. Ventura denied the event occurred.
Lawsuit
In January 2012, after Kyle declined to retract his statement, Ventura sued Kyle for defamation in federal court. In a motion filed by Kyle's attorney in August 2012 to dismiss two of the suit's three counts, declarations by five former SEALs and the mothers of two others supported Kyle's account. But in a motion filed by Ventura, Bill DeWitt, a close friend of Ventura and former SEAL who was present with him at the bar, suggested that Ventura interacted with a few SEALs but was involved in no confrontation with Kyle and that Kyle's claims were false. DeWitt's wife also said she witnessed no fight between Kyle and Ventura.
In 2013, while the lawsuit was ongoing, Kyle was murdered in an unrelated incident, and Ventura substituted Taya Kyle, Chris Kyle's widow and the executorix of his estate, as the defendant. After a three-week trial in federal court in St. Paul in July 2014, the jury reached an 8–2 divided verdict in Ventura's favor, and awarded him $1.85 million, $500,000 for defamation and $1,345,477.25 for unjust enrichment. Ventura testified at the trial. On August 2014, U.S. District Judge Richard H. Kyle (no relation to Chris Kyle) upheld the jury's award, finding it "reasonable and supported by a preponderance of the evidence." Attorneys for Kyle's estate said that the defamation damages would be covered by HarperCollins's libel insurance. The unjust enrichment award was not covered by insurance. After the verdict, HarperCollins announced that it would remove the sub-chapter "Punching out Scruff Face" from all future editions of Kyle's book. Kyle's estate moved for either judgment as a matter of law or a new trial. In November 2014, the district court denied the motions.
Kyle's estate appealed to the U.S. Court of Appeals for the Eighth Circuit. Oral argument was held in October 2015, and on June 13, 2016, the appeals court vacated and reversed the unjust-enrichment judgment, and vacated and remanded the defamation judgment for a new trial, holding that "We cannot accept Ventura's unjust-enrichment theory, because it enjoys no legal support under Minnesota law. Ventura's unjust-enrichment claim fails as a matter of law." Ventura sought to appeal the circuit court's decision to the U.S. Supreme Court, but in January 2017, the Supreme Court declined to hear the appeal.
In December 2014, Ventura sued publisher HarperCollins over the same statement in American Sniper. In December 2017, Ventura and HarperCollins settled the dispute on undisclosed terms, and Ventura dropped his lawsuit against both the publisher and Kyle's estate.
Personal life
Family
On July 18, 1975, three days after his 24th birthday, Ventura married his wife Terry. The couple have two children: a son, Tyrel, who is a film and television director and producer, and a daughter, Jade. With the exception of the first two WrestleManias, Ventura always said hello to "Terry, Tyrel and Jade back in Minneapolis" during his commentary at the annual event. Tyrel also had the honor of inducting his father into the WWE Hall of Fame class of 2004, and worked on Conspiracy Theory with Jesse Ventura, including as an investigator in the show's third season.
Ventura and his wife split their time between White Bear Lake, Minnesota and Los Cabos, Baja California Sur, Mexico. Regarding his life in Mexico, Ventura has said:
Health
During his wrestling days, Ventura used anabolic steroids. He admitted this after retiring from competition, and went on to make public service announcements and appear in printed ads and on posters warning young people about the potential dangers and potential health risks of abusing steroids.
In 2002, Ventura was hospitalized for a severe blood clot in his lungs, the same kind of injury that ended his wrestling career.
Religion
Ventura has said that he was baptized a Lutheran.
In 1999, Ventura said in an NBC News interview that he was baptized a Lutheran but came out as an atheist on The Joe Rogan Experience. In a Playboy interview, Ventura said, "Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. It tells people to go out and stick their noses in other people's business. I live by the golden rule: Treat others as you'd want them to treat you. The religious right wants to tell people how to live." In his 1999 bestselling memoir I Ain't Got Time to Bleed, Ventura responded to the controversy sparked by these remarks by elaborating on his views concerning religion:
In April 2011, Ventura said on The Howard Stern Show that he is an atheist and that his beliefs could disqualify him for office in the future, saying, "I don't believe you can be an atheist and admit it and get elected in our country." In an October 2010 CNN interview, Ventura stated religion as being the "root of all evil", remarking that "you notice every war is fought over religion."
As governor, Ventura endorsed equal rights for religious minorities, as well as people who do not believe in God, by declaring July 4, 2002, "Indivisible Day". He inadvertently proclaimed October 13–19, 2002 "Christian Heritage Week" in Minnesota.
Championships and accomplishments
American Wrestling Association
AWA World Tag Team Championship (1 time) – with Adrian Adonis
Cauliflower Alley Club
Iron Mike Mazurki Award (1999)
Central States Wrestling
NWA World Tag Team Championship (Central States version) (1 time) – with Tank Patton
Continental Wrestling Association
AWA Southern Heavyweight Championship (2 times)
George Tragos/Lou Thesz Professional Wrestling Hall of Fame
Frank Gotch Award (2003)
NWA Hawaii
NWA Hawaii Tag Team Championship (1 time) – with Steve Strong
Pacific Northwest Wrestling
NWA Pacific Northwest Heavyweight Championship (2 times)
NWA Pacific Northwest Tag Team Championship (5 times) – with Bull Ramos (2), Buddy Rose (2) and Jerry Oates (1)
Pro Wrestling Illustrated
Ranked No. 239 of the top 500 singles wrestlers during the "PWI Years" in 2003
Ranked No. 67 of the top 100 tag teams of the "PWI Years" with Adrian Adonis
Ring Around The Northwest Newsletter
Wrestler of the Year (1976)
World Wrestling Entertainment
WWE Hall of Fame (Class of 2004)
Wrestling Observer Newsletter Awards
Best Color Commentator (1987–1990)
Electoral history
Bibliography
I Ain't Got Time to Bleed: Reworking the Body Politic from the Bottom Up (May 18, 1999)
Do I Stand Alone? Going to the Mat Against Political Pawns and Media Jackals (September 1, 2000)
Jesse Ventura Tells it Like it Is: America's Most Outspoken Governor Speaks Out About Government (August 1, 2002, co-authored with Heron Marquez)
Don't Start the Revolution Without Me! (April 1, 2008, co-authored with Dick Russell)
American Conspiracies (March 8, 2010, co-authored with Dick Russell) . Updated and revised edition (October 6, 2015, co-authored with Dick Russell)
63 Documents the Government Doesn't Want You to Read (April 4, 2011, co-authored with Dick Russell)
DemoCRIPS and ReBLOODlicans: No More Gangs in Government (June 11, 2012, co-authored with Dick Russell)
They Killed Our President: 63 Reasons to Believe There Was a Conspiracy to Assassinate JFK (October 1, 2013, with Dick Russell & David Wayne)
Sh*t Politicians Say: The Funniest, Dumbest, Most Outrageous Things Ever Uttered By Our "Leaders" (July 12, 2016)
Marijuana Manifesto (September 6, 2016)
See also
List of American politicians who switched parties in office
References
Further reading
deFiebre, Conrad. "Record-high job approval for Ventura; Many Minnesotans like his style, don't mind moonlighting". Star Tribune July 22, 1999: 1A+.
deFiebre, Conrad. "Using body language, Ventura backs Kerry". Star Tribune October 23, 2004: 1A+.
Kahn, Joseph P. "The Body Politic". The Boston Globe February 25, 2004. Accessed April 28, 2004.
Olson, Rochelle and Bob von Sternberg. "GOP demands equal time; Wellstone aide apologizes; Ventura upset". Minneapolis Star-Tribune October 31, 2002: 1A+.
External links
Minnesota Historical Society
Issue positions and quotes at On the Issues
Fact-checking at PolitiFact.com
Off The Grid with Jesse Ventura
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XFL (2001) announcers
Roosevelt High School (Minnesota) alumni | false | [
"The 1969–70 South Africa rugby union tour of Britain and Ireland was a rugby union tour by the South Africa national rugby union team to the Northern Hemisphere.\n\nThere were a number of anti-apartheid protests throughout the tour.\n\nThe controversial tour happened during the apartheid era in South Africa, and came shortly after the D'Oliveira affair. There were protests at many of the matches, by anti-apartheid campaigners, calling themselves 'Stop the Seventy Tour', organised by Peter Hain. Future British prime minister Gordon Brown was the group's Edinburgh organiser.\n\nMatches \n\nScores and results list South Africa's points tally first.\n\nReferences\n\nExternal links\n International results at ESPN\n Sports campaigns carried out by the Anti Apartheid Movement\n\nFurther reading\nGeoff Brown and Christian Hogsbjerg, Apartheid is Not a Game: Remembering the Stop The Seventy Tour campaign (Redwords, 2020)\nPeter Hain, Don't Play with Apartheid: The Background to the Stop the Seventy Tour Campaign (1971)\n\n1969 rugby union tours\n1970 rugby union tours\n1969\n1969\n1969\n1969\n1969\n1969–70 in European rugby union\n1969–70 in English rugby union\n1969–70 in Welsh rugby union\n1969–70 in Scottish rugby union\n1969–70 in Irish rugby union\n1969 in South African rugby union\n1970 in South African rugby union\nRugby union and apartheid\nSports scandals in England\nSports scandals in Scotland\nSports scandals in Ireland\nSports scandals in Wales",
"During Recep Tayyip Erdoğan's campaign for presidency in 2014 and throughout his presidency, there were numerous claims and allegations that he didn't actually graduate from a university and therefore he is ineligible to be President of Turkey because he was not a university graduate as required by Article 101 of the Turkish constitution.\n\nAccusations \nIn June 2016, Ömen Faruk Eminağaoğlu, former president of YARSAV (Association of Judges and Prosecutors) stated that Erdoğan's university diploma was fake, accused Erdoğan of document forgery and called for Erdoğan's presidency to be ended. Marmara University immediately released a statement stating that claims of Erdoğan having a fake diploma has no evidence. ÜNİVDER (University Faculty Members Association) criticized rectorate of Marmara University for denying the fake diploma allegations without sharing any documents, while it was expected for them to release a copy of the diploma of Erdoğan and stated that there isn't any evidence for Erdoğan's graduation from any university. Erdoğan responded to accusations by saying \"The school i registered, was educated and graduated is clear, my classmates are clear. And the university administration made the formal explanation. Despite all this, some people are still bringing up this issue\" and asked Mehmet Emin Arat, rector of the Marmara University to release his diploma information.\n\nIn December 2020, a court ruled that high school diploma of former deputy of the Justice and Development Party, Hamza Yerlikaya was fake and Yerlikaya isn't a high school graduate, creating further controversy.\n\nReferences \n\nPeople who fabricated academic degrees\nPolitical scandals in Turkey\nRecep Tayyip Erdoğan controversies"
]
|
[
"Snoop Dogg",
"2012-13: Reincarnated and 7 Days of Funk"
]
| C_f4a48950757d43dab26bdc5d8444890b_1 | What happened in 2012-13? | 1 | What happened to Snoop Dogg in 2012-13? | Snoop Dogg | Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told that year. His other albums from No Limit were No Limit Top Dogg in 1999 (selling over 1,503,865 copies) and Tha Last Meal in 2000 (selling over 2,000,000). In 1999, his autobiography, Tha Doggfather, was published. In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, with it selling over 1,300,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image. In 2004, Snoop signed to Geffen Records/Star Trak Entertainment both of which were distributed through Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,724,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released album The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor", along with fellow rappers Lil Jon, Xzibit, and David Banner, Snoop Dogg's appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including the single "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. Also, his latest song, "Real Talk", was leaked over the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was a dedication to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the Governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio. Snoop's 2006 album, Tha Blue Carpet Treatment, debuted on the Billboard 200 at No.5 and has sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers for his single "Candy (Drippin' Like Water)". In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone prior to its release as a single, which was "It's the D.O.G.". On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie Singh Is Kinng; the title of the song is also "Singh is Kinng". He also appears in the movie as himself. The album featuring the song was released on June 8, 2008 on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy). Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice. Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 11, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010 as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain. Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' latest album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko. On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013 with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album, "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times". On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafarian priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena. In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic--they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound. In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dam-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013. CANNOTANSWER | On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album | Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg (previously Snoop Doggy Dogg and briefly Snoop Lion), is an American rapper, songwriter, media personality, actor, and entrepreneur. His fame dates to 1992 when he featured on Dr. Dre's debut solo single, "Deep Cover", and then on Dre's debut solo album, The Chronic. Broadus has since sold over 23 million albums in the United States and 35 million albums worldwide.
Broadus' debut solo album, Doggystyle, produced by Dr. Dre, was released by Death Row Records in November 1993, and debuted at number one on the popular albums chart, the Billboard 200, and on Billboards Top R&B/Hip-Hop Albums chart. Selling 800,000 copies in its first week, Doggystyle was certified quadruple-platinum in 1994 and bore several hit singles, including "What's My Name?" and "Gin and Juice". In 1994, Death Row Records released a soundtrack, by Broadus, for the short film Murder Was the Case, starring Snoop. In 1996, his second album, Tha Doggfather, also debuted at number one on both charts, with "Snoop's Upside Ya Head" as the lead single. The next year, the album was certified double-platinum.
After leaving Death Row Records in January 1998, Broadus signed with No Limit Records, releasing three Snoop albums: Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). In 2002, he signed with Priority/Capitol/EMI Records, releasing Paid tha Cost to Be da Boss. In 2004, he signed to Geffen Records, releasing his next three albums: R&G (Rhythm & Gangsta): The Masterpiece, then Tha Blue Carpet Treatment, and Ego Trippin'. Priority Records released his album Malice 'n Wonderland during 2009, followed by Doggumentary during 2011. Snoop Dogg has starred in motion pictures and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. He also coaches a youth football league and high-school football team. In September 2009, EMI hired him as the chairman of a reactivated Priority Records.
In 2012, after a trip to Jamaica, Broadus announced a conversion to Rastafari and a new alias, Snoop Lion. As Snoop Lion he released a reggae album, Reincarnated, and a documentary film of the same name, about his Jamaican experience, in early 2013. His 13th studio album, Bush, was released in May 2015 and marked a return of the Snoop Dogg name. His 14th solo studio album, Coolaid, was released in July 2016. In March 2016, the night before WrestleMania 32 in Arlington, Texas, he was inducted into the celebrity wing of the WWE Hall of Fame, having made several appearances for the company, including as master of ceremonies during a match at WrestleMania XXIV. In 2018, Snoop announced that he was "a born-again Christian" and released his first gospel album Bible of Love. On November 19, 2018, Snoop Dogg was given a star on the Hollywood Walk of Fame. He released his seventeenth solo album, I Wanna Thank Me, in 2019. In 2022, Snoop Dogg acquired Death Row Records from MNRK Music Group (formerly known as eOne Music), and released his 20th studio album, BODR. Snoop has had 17 Grammy nominations without a win.
Early life
Calvin Cordozar Broadus Jr. was born on October 20, 1971, in Long Beach, California to Vernell Varnado and Beverly Tate. Vernell, who was a Vietnam War veteran, singer, and mail carrier, left the family only three months after his birth, and thus he was named after his stepfather, Calvin Cordozar Broadus Sr. (1948–1985). His father remained largely absent from his life. As a boy, his parents nicknamed him "Snoopy" due to his love and likeness of the cartoon character from Peanuts. He was the second of his mother's three sons. His mother and stepfather divorced in 1975. When Broadus was very young, he began singing and playing piano at the Golgotha Trinity Baptist Church. In sixth grade, he began rapping. As a child, Broadus sold candy, delivered newspapers, and bagged groceries to help his family make ends meet. He was described as having been a dedicated student and enthusiastic churchgoer, active in choir and football. Broadus said in 1993 that he began engaging in unlawful activities and joining gangs in his teenage years, despite his mother's preventative efforts.
Broadus would frequently rap in school. As he recalled: "When I rapped in the hallways at school I would draw such a big crowd that the principal would think there was a fight going on. It made me begin to realize that I had a gift. I could tell that my raps interested people and that made me interested in myself."
As a teenager, Broadus frequently ran into trouble with the law. He was a member of the Rollin' 20s Crips gang in the Eastside neighborhood of Long Beach; although in 1993 he denied the frequent police and media reports by saying that he never joined a gang. Shortly after graduating from high school at Long Beach Polytechnic High School in 1989, he was arrested for possession of cocaine, and for the next three years, was frequently incarcerated, including at Wayside Jail. With his two cousins, Nate Dogg and Lil' ½ Dead, and friend Warren G, Snoop recorded homemade tapes; the four called their group 213 after the area code of their native Long Beach at that time. One of Snoop's early solo freestyles over "Hold On" by En Vogue was on a mixtape that fortuitously wound up with Dr. Dre; the influential producer was so impressed by the sample that he called Snoop to audition. Former N.W.A affiliate The D.O.C. taught him to structure his lyrics and separate the themes into verses, hooks, and choruses.
Musical career
1992–1998: Death Row, Doggystyle, and Tha Doggfather
When he began recording, Broadus took the stage name Snoop Doggy Dogg. Dr. Dre began working with him, first on the theme song of the 1992 film Deep Cover and then on Dr. Dre's debut solo album The Chronic along with the other members of his former starting group, Tha Dogg Pound. This intense exposure played a considerable part in making Snoop Dogg's debut album, Doggystyle, the critical and commercial success that it was.
Fueling the ascendance of West Coast G-funk hip hop, the singles "Who Am I (What's My Name)?" and "Gin and Juice" reached the top ten most-played songs in the United States, and the album stayed on the Billboard charts for several months. Gangsta rap became the center of arguments about censorship and labeling, with Snoop Dogg often used as an example of violent and misogynistic musicians. Unlike much of the harder-edged gangsta rap artists, Snoop Dogg seemed to show his softer side, according to music journalist Chuck Philips. Rolling Stone music critic Touré asserted that Snoop had a relatively soft vocal delivery compared to other rappers: "Snoop's vocal style is part of what distinguishes him: where many rappers scream, figuratively and literally, he speaks softly." Doggystyle, much like The Chronic, featured a host of rappers signed to or affiliated with the Death Row label including Daz Dillinger, Kurupt, Nate Dogg, and others.
In 1993, Snoop Dogg was charged with first-degree murder for the shooting of Philip Woldermariam, a member of a rival gang who was actually killed by Snoop’s bodyguard, McKinley Lee, aka Malik. Broadus was acquitted on February 20, 1996. According to Broadus, after he was acquitted he did not want to continue living the "gangsta" lifestyle, because he felt that continuing his behavior would result in his assassination or a prison term. A short film about Snoop Dogg's murder trial, Murder Was the Case, was released in 1994, along with an accompanying soundtrack. On July 6, 1995, Doggy Style Records, Inc., a record label founded by Snoop Dogg, was registered with the California Secretary of State as business entity number C1923139.
After his acquittal, he, the mother of his son, and their kennel of 20 pit bulls moved into a home in the hills of Claremont, California and by August 1996 Doggy Style Records, a subsidiary of Death Row Records, signed the Gap Band Charlie Wilson as one of its first artists. He collaborated with fellow rap artist Tupac Shakur on the 1996 single "2 of Amerikaz Most Wanted". This was one of Shakur's last songs while alive; he was shot on September 7, 1996, in Las Vegas, dying six days later.
By the time Snoop Dogg's second album, Tha Doggfather, was released in November 1996, the price of appearing to live the gangsta life had become very evident. Among the many notable hip hop industry deaths and convictions were the death of Snoop Dogg's friend and labelmate Tupac Shakur and the racketeering indictment of Death Row co-founder Suge Knight. Dr. Dre had left Death Row earlier in 1996 because of a contract dispute, so Snoop Dogg co-produced Tha Doggfather with Daz Dillinger and DJ Pooh.
This album featured a distinct change of style from Doggystyle, and the leadoff single, "Snoop's Upside Ya Head", featured a collaboration with Charlie Wilson The album sold reasonably well but was not as successful as its predecessor. Tha Doggfather had a somewhat softer approach to the G-funk style. After Dr. Dre withdrew from Death Row Records, Snoop realized that he was subject to an ironclad time-based contract (i.e., that Death Row practically owned anything he produced for a number of years), and refused to produce any more tracks for Suge Knight other than the insulting "Fuck Death Row" until his contract expired. In an interview with Neil Strauss in 1998, Snoop Dogg said that though he had been given lavish gifts by his former label, they had withheld his royalty payments.
Stephen Thomas Erlewine of Allmusic said that after Tha Doggfather, Snoop Dogg began "moving away from his gangsta roots toward a calmer lyrical aesthetic": for instance, Snoop participated in the 1997 Lollapalooza concert tour, which featured mainly alternative rock music. Troy J. Augusto of Variety noticed that Snoop's set at Lollapalooza attracted "much dancing, and, strangely, even a small mosh pit" in the audience.
1998–2006: Signing with No Limit and continued success
Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in March 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told later that year. He said at the time that "Snoop Dogg is universal so he can fit into any camp-especially a camp that knows how to handmake shit[;] [a]nd, No Limit hand makes material. They make material fittin' to the artist and they know what type of shit Snoop Dogg is supposed to be on. That's why it's so tight." [sic] His other albums on No Limit were No Limit Top Dogg in 1999 (selling over 1,510,000 copies) and Tha Last Meal in 2000 (selling over 2,100,000). In 1999, his autobiography, Tha Doggfather, was published.
In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, selling over 1,310,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image.
In June 2004, Snoop signed to Geffen Records/Star Trak Entertainment, both distributed by Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,730,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included the single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor" along with fellow rappers Lil Jon, Xzibit, and David Banner,
Snoop Dogg appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. His song "Real Talk" was leaked on the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was dedicated to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio.
Snoop's 2006 album Tha Blue Carpet Treatment debuted on the Billboard 200 at No.5 and sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers on the single "Candy (Drippin' Like Water)".
2007–2012: Ego Trippin', Malice n Wonderland and Doggumentary
In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone before its release as a single, "It's the D.O.G." On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie, Singh Is Kinng; the song title is also "Singh is Kinng". He appears in the movie as himself. The album featuring the song was released on June 8, 2008, on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy).
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice.
Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 7, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010, as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain.
Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko.
2012–2013: Reincarnated and 7 Days of Funk
On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013, with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album: "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times".
On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafari priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena.
In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic—they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound.
In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dâm-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013.
2014–2017: Bush, Coolaid, and Neva Left
In August 2014, a clip surfaced online featuring a sneak preview of a song Snoop had recorded for Pharrell. Snoop's Pharrell Williams-produced album Bush was released on May 12, 2015, with the first single "Peaches N Cream" having been released on March 10, 2015.
On June 13, 2016, Snoop Dogg announced the release date for his album Coolaid, which was released on July 1, 2016. He headlined a "unity party" for donors at Philly's Electric Factory on July 28, 2016, the last day of the Democratic National Convention. Released March 1, 2017, through his own Doggy Style Records, "Promise You This" precedes the release of his upcoming Coolaid film based on the album of the same name. Snoop Dogg released his fifteenth studio album Neva Left in May 2017.
2018–2021: Bible of Love, I Wanna Thank Me, and From tha Streets 2 tha Suites
He released a gospel album titled Bible of Love on March 16, 2018. Snoop was featured on Gorillaz' latest album The Now Now on a track called: "Hollywood" with Jamie Principle. In November 2018, Snoop Dogg announced plans for his Puff Puff Pass tour, which features Bone Thugs-n-Harmony, Too $hort, Warren G, Kurupt, and others. The tour ran from November 24 to January 5.
Snoop Dogg was featured on Lil Dicky's April 2019 single "Earth", where he played the role of a marijuana plant in both the song's lyrics and animated video. Snoop Dogg was among hundreds of artists whose material was destroyed in the 2008 Universal fire. On July 3, 2019, Snoop Dogg released the title track from his upcoming 17th studio album, I Wanna Thank Me. The album was released on August 16, 2019. Snoop Dogg collaborated with Vietnamese singer Son Tung M-TP in "Hãy trao cho anh" ("Give it to Me"), which was officially released on July 1, 2019. As of October 3, 2019, the music video has amassed over 158 million views on YouTube.
Early in 2020, it was announced that Snoop had rescheduled his tour in support of his I Wanna Thank You album and documentary of the same name. The tour has been rescheduled to commence in February 2021. In May 2020, Snoop released the song "Que Maldicion", a collaboration with Banda Sinaloense de Sergio Lizarraga, peaking at number one on the Billboard Bubbling Under Hot 100.
On April 20, 2021, Snoop Dogg released his eighteenth studio album From tha Streets 2 tha Suites. It was announced on April 7, 2021, via Instagram. The album received generally positive reviews from critics.
During an interview on the September 27 airing of The Tonight Show Starring Jimmy Fallon, Snoop Dogg announced Algorithm. The album was released on November 19, 2021.
2022-present: Super Bowl Halftime Show performance and BODR
Snoop Dogg performed at the Super Bowl LVI Halftime Show alongside Dr. Dre, Eminem, Mary J. Blige, and Kendrick Lamar.
In January 2022, Snoop Dogg announced that he would release his 19th studio album, BODR, on the same day as his Super Bowl Halftime Show performance. However, the album's release was pushed forward two days and was released on February 11, 2022.
On , Snoop Dogg announced that he is officially in charge at Death Row Records.
Other ventures
Broadus has appeared in numerous films and television episodes throughout his career. His starring roles in film includes The Wash (with Dr. Dre) and the horror film Bones. He also co-starred with rapper Wiz Khalifa in the 2012 movie Mac and Devin Go to High School which a sequel has been announced. He has had various supporting and cameo roles in film, including Half Baked, Training Day, Starsky & Hutch, and Brüno.
He has starred in three television programs: sketch-comedy show Doggy Fizzle Televizzle, variety show Dogg After Dark, and reality show Snoop Dogg's Father Hood (also starring Snoop's wife and children). He has starred in episodes of King of the Hill, Las Vegas, and Monk, one episode of Robot Chicken, as well as three episodes of One Life to Live. He has participated in three Comedy Central Roasts, for Flavor Flav, Donald Trump, and Justin Bieber. Cameo television appearances include episodes of The L Word, Weeds, Entourage, I Get That a Lot, Monk, and The Price Is Right. He has also appeared in an episode of the YouTube video series, Epic Rap Battles of History as Moses.
In 2000, Broadus (as "Michael J. Corleone") directed Snoop Dogg's Doggystyle, a pornographic film produced by Hustler. The film, combining hip hop with x-rated material, was a huge success and won "Top Selling Release of the Year" at the 2002 AVN Awards. Snoop then directed Snoop Dogg's Hustlaz: Diary of a Pimp in 2002 (using the nickname "Snoop Scorsese").
Broadus founded his own production company, Snoopadelic Films, in 2005. Their debut film was Boss'n Up, a film inspired by Snoop Dogg's album R&G, starring Lil Jon and Trina.
On March 30, 2008, he appeared at WrestleMania XXIV as a Master of Ceremonies for a tag team match between Maria and Ashley Massaro as they took on Beth Phoenix and Melina. At WrestleMania 32, he accompanied his cousin Sasha Banks to the ring for her match, rapping over her theme music. He was also inducted into the WWE Hall of Fame in 2016.
In December 2013, Broadus performed at the annual Kennedy Center Honors concert, honoring jazz pianist Herbie Hancock. After his performance, Snoop credited Hancock with "inventing hip-hop".
On several occasions, Broadus has appeared at the Players Ball in support of Bishop Don Magic Juan. Juan appeared on Snoop's videos for "Boss Playa", "A.D.I.D.A.C.", "P.I.M.P. (Remix)", "Nuthin' Without Me" and "A Pimp's Christmas Song".
In January 2016, a Change.org petition was created in the hopes of having Broadus narrate the entire Planet Earth series. The petition comes after Snoop narrated a number of nature clips on Jimmy Kimmel Live!
In April 2016, Broadus performed "Straight outta Compton" and "Fuck tha Police" at Coachella, during a reunion of N.W.A. members Dr. Dre, Ice Cube and MC Ren.
He hosted a Basketball fundraiser "Hoops 4 Water" for Flint, Michigan. The event occurred on May 21, 2016, and was run by former Toronto Raptors star and Flint native Morris Peterson.
In the fall of 2016, VH1 premiered a new show featuring Broadus and his friend Martha Stewart at called Martha & Snoop's Potluck Dinner Party, featuring games, recipes, and musical guests. Broadus and Stewart also later starred together in a Super Bowl commercial for T-Mobile during Super Bowl LI in February 2017.
Broadus hosts a revival of The Joker's Wild, which spent its first two seasons on TBS before moving to TNT in January 2019. He is in the film, Sponge on the Run.
Broadus has also created a fried chicken recipe, with barbecue flavor potato chips as an added ingredient in the batter.
In early 2020, Broadus launched his debut wine release, under the name "Snoop Cali Red", in a partnership with the Australian wine brand, 19 Crimes. The red wine blend features Snoop's face on the label.
Broadus provided commentary for Mike Tyson vs. Roy Jones Jr., who some pundits described as having "won" the night through his colorful commentary and reactions. At one point, Snoop described Tyson and Jones as "like two of my uncles fighting at the barbecue"; he also began singing a hymn, Take My Hand, Precious Lord, during the undercard fight between Jake Paul and Nate Robinson, after Robinson was knocked down.
Broadus made a special guest appearance in All Elite Wrestling on the January 6, 2021, episode of AEW Dynamite, titled New Year's Smash. During this appearance, Snoop appeared in the corner of Cody Rhodes during Rhodes' match with Matt Sydal. He later gave Serpentico a Frog Splash, with Rhodes then delivering a three-count.
In June 2021, Snoop Dogg officially joined Def Jam Recordings as its new Executive Creative and Strategic Consultant, a role allowing him to strategically work across the label’s executive team and artist roster. His immediate focus was A&R and creative development, reporting to Universal Music Group Chairman & CEO Sir Lucian Grainge as well as Def Jam interim Chairman and CEO Jeffrey Harleston. On November 12, 2021, Snoop Dogg announced the signing of Benny the Butcher on Joe Rogan's podcast.
In February 2022, it was announced that Snoop Dogg had fully acquired Death Row Records from its previous owners, The MNRK Music Group (formerly eOne Music). The label was also revived when Snoop Dogg released his 20th album BODR.
Style and rap skills
Kool Moe Dee ranks Broadus at No. 33 in his book There's a God on the Mic, and says he has "an ultra-smooth, laidback delivery" and "flavor-filled melodic rhyming".
Peter Shapiro describes Broadus’ delivery as a "molasses drawl" and AllMusic notes his "drawled, laconic rhyming" style. Kool Moe Dee refers to Snoop's use of vocabulary, saying he "keeps it real simple...he simplifies it and he's effective in his simplicity".
Broadus is known to freestyle some of his lyrics on the spot – in the book How to Rap, Lady of Rage says, "When I worked with him earlier in his career, that's how created his stuff... he would freestyle, he wasn't a writer then, he was a freestyler", and The D.O.C. states, "Snoop's [rap] was a one take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busting. The song was "Tha Shiznit"—that was all freestyle. He started busting and when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then."
Peter Shapiro says that Broadus debuted on "Deep Cover" with a "shockingly original flow – which sounded like a Slick Rick born in South Carolina instead of South London" and adds that he "showed where his style came from by covering Slick Rick's 'La Di Da Di'". Referring to Snoop's flow, Kool Moe Dee calls him "one of the smoothest, funkiest flow-ers in the game". How to Rap also notes that Snoop is known to use syncopation in his flow to give it a laidback quality, as well as 'linking with rhythm' in his compound rhymes, using alliteration, and employing a "sparse" flow with good use of pauses.
Broadus popularized the use of -izzle speak particularly in the pop and hip-hop music industry. A type of infix, it first found popularity when used by Frankie Smith in his 1981 hit song Double Dutch Bus.
Broadus listed his favourite rap albums for Hip Hop Connection:
10. Mixmaster Spade, The Genius Is Back
9. Lauryn Hill, The Miseducation of Lauryn Hill
8. Ice Cube, Death Certificate
7. 2Pac, Me Against the World
6. The Notorious B.I.G., Ready to Die
5. N.W.A, Straight Outta Compton
4. Eric B. & Rakim, Paid in Full
3. Slick Rick, The Great Adventures of Slick Rick
2. Snoop Doggy Dogg, Doggystyle
1. Dr. Dre, The Chronic ("It's da illest shit")
Personal life
Snoop married his high school girlfriend, Shante Taylor, on June 12, 1997. On May 21, 2004, he filed for divorce from Taylor, citing irreconcilable differences. The couple however remarried on January 12, 2008. They have three children together: sons Cordé (born August 21, 1994) and Cordell (born February 21, 1997), who quit football to pursue a career as a film maker, and daughter Cori (born June 22, 1999). Snoop also has a son from a relationship with Laurie Holmond, Julian Corrie Broadus (born 1998). He is a first cousin of R&B singers Brandy and Ray J, and WWE professional wrestler Sasha Banks. In 2015 Snoop became a grandfather, as his eldest son, Cordé Broadus, had a son with his girlfriend, Jessica Kyzer. Cordé had another son, Kai, who died on September 25, 2019, ten days after birth.
Since the start of his career, Snoop has been an avowed cannabis smoker, making it one of the trademarks of his image. In 2002, he announced he was giving up cannabis for good; that did not last long (a situation famously referenced in the 2004 Adam Sandler movie 50 First Dates) and in 2013, he claimed to be smoking approximately 80 cannabis blunts a day. He has been certified for medical cannabis in California to treat migraines since at least 2007.
Snoop claimed in a 2006 interview with Rolling Stone magazine that unlike other hip hop artists who had superficially adopted the pimp persona, he was an actual professional pimp in 2003 and 2004, saying, "That shit was my natural calling and once I got involved with it, it became fun. It was like shootin' layups for me. I was makin' 'em every time."
On October 24, 2021, Snoop's mother, Beverly Tate, died.
Sports
Snoop is an avid sports fan, including hometown teams Los Angeles Dodgers, Los Angeles Lakers, and USC Trojans, as well as the Pittsburgh Steelers. He has stated that he began following the Steelers in the 1970s while watching the team with his grandfather. He is also a fan of the Las Vegas Raiders, Los Angeles Rams, and Dallas Cowboys, often wearing a No. 5 jersey, and has been seen at Raiders training camps. He has shown affection for the New England Patriots, having been seen performing at Gillette Stadium. He is an avid ice hockey fan, sporting jerseys from the NHL's Los Angeles Kings, Pittsburgh Penguins, Toronto Maple Leafs and the Boston Bruins as well at the AHL's Springfield Indians in his 1994 music video "Gin and Juice". Snoop has been seen attending Los Angeles Kings games. On his reality show Snoop Dogg's Father Hood, Snoop and his family received hockey lessons from the Anaheim Ducks, then returned to the Honda Center to cheer on the Ducks against the Vancouver Canucks in the episode "Snow in da Hood". Snoop appeared in the video game NHL 20 as both a guest commentator and a playable character in the "World of Chel" game mode.
Snoop is a certified football coach and has been head coach of his son Cordell's youth football teams. Cordell played wide receiver and defensive back at Bishop Gorman High School in Las Vegas, Nevada, Cordell played on the 2014 state championship team, and received football scholarship offers from Southern California, UCLA, Washington, Cal, Oregon State, Duke, and Notre Dame. Cordell committed and signed a letter of intent to play for UCLA on February 4, 2015. On August 14, 2015, UCLA announced that Cordell had left the UCLA football team "to pursue other passions in his life".
Since 2005, Snoop Dogg has been operating a youth football league in the Los Angeles area. He is a coach in the league, and one of the seasons he coached was documented in the Netflix documentary Coach Snoop.
Religion
In 2009, it was reported that Snoop was a member of the Nation of Islam. On March 1, he made an appearance at the Nation of Islam's annual Saviours' Day holiday, where he praised minister Louis Farrakhan. Snoop said he was a member of the Nation, but declined to give the date on which he joined. He also donated $1,000 to the organization.
Claiming to be "born again" in 2012, Snoop converted to the Rastafari movement, switched the focus of his music to reggae and changed his name to Snoop Lion after a trip to Jamaica. He released a reggae album, Reincarnated, saying, "I have always said I was Bob Marley reincarnated".
In January 2013, he received criticism from members of the Rastafari community in Jamaica, including reggae artist Bunny Wailer, for alleged failure to meet his commitments to the culture. Snoop later dismissed the claims, stating his beliefs were personal and not up for outside judgment.
After releasing Bible of Love in early 2018 and performing in the 33rd Annual Stellar Gospel Music Awards, Snoop Dogg told a TV One interviewer while speaking of his Gospel influences that he "always referred to [his] savior Jesus Christ" on most of his records, and that he had become "a born-again Christian".
Charity
In 2005, Snoop Dogg founded the Snoop Youth Football League for at-risk youth in Southern California. In 2018, it was claimed to be the largest youth football organization in Southern California, with 50 teams and more than 1,500 players.
Snoop Dogg partners with city officials and annually gives away turkeys to the less fortunate in Inglewood, California at Thanksgiving. He gave away 3000 turkeys in 2016.
Politics
In 2012, Snoop Dogg endorsed Representative Ron Paul in the Republican presidential primary, but later said he would vote for Barack Obama in the general election, and on Instagram gave ten reasons to vote for Obama (including "He a black nigga", "He's BFFs with Jay-Z", and "Michelle got a fat ass"), and ten reasons not to vote for Mitt Romney (including "He a white nigga", "That muthafucka's name is Mitt", and "He a ho").
In a 2013 interview with The Huffington Post, Snoop Dogg advocated for same-sex marriage, saying, “People can do what they want and as they please."
In his keynote address at the 2015 South by Southwest music festival, he blamed Los Angeles's explosion of gang violence in the 1980s on the economic policies of Ronald Reagan, and insinuated that his administration shipped guns and drugs into the area.
He endorsed presidential candidate Hillary Clinton on Bravo's Watch What Happens Live in May 2015, saying, "I would love to see a woman in office because I feel like we're at that stage in life to where we need a perspective other than the male's train of thought" and "[...] just to have a woman speaking from a global perspective as far as representing America, I'd love to see that. So I'll be voting for Mrs. Clinton."
Following the deadly shooting of five police officers in Dallas on July 7, 2016, Snoop Dogg and The Game organized and led a peaceful march to the Los Angeles Police Department headquarters. The subsequent private meeting with the mayor Eric Garcetti and police chief Charlie Beck, and news conference was, according to Broadus, "[...] to get some dialogue and the communication going [...]". The march and conference were part of an initiative called "Operation ", serving as a police brutality protest in response to the police shooting and killing of two black men, Philando Castile and Alton Sterling, whose killing prompted nationwide protests including those that led to the Dallas killing of police officers. Broadus stated that "We are tired of what is going on and it's communication that is lacking". Reports of attendance range between 50–100 people.
Snoop Dogg advocates for the defunding of police departments, saying "We need to start taking that money out of their pocket and put it back into our communities where we can police ourselves." In 2020, he endorsed former Vice President Joe Biden for President of the United States.
Animal rights
Snoop Dogg regularly appears in real fur garments, especially large coats, for which he attracts criticism from animal welfare charities and younger audiences. In a video podcast in 2012, the rapper asked "Why doesn't PETA throw paint on a pimp's fur coat". In 2014, Snoop Dogg claimed to have become a vegan. In June 2018, he performed at the Environmental Media Association (EMA) Honors Gala. While he was performing, the logo for Beyond Meat was displayed on the screens behind him. In 2020, Snoop Dogg invested in vegan food company Original Foods, which makes Pigless Pork Rinds, which he has said are a favorite. He is an ambassador for vegan brand Beyond Meat.
Business ventures and investments
Broadus has been an active entrepreneur and investor. In 2009, he was appointed creative chairman of Priority Records.
In May 2013, Broadus and his brand manager Nick Adler released an app, Snoopify, that lets users plaster stickers of Snoop's face, joints or a walrus hat on photos. Adler built the app in May after discovering stickers in Japan. As of 2015, the app was generating $30,000 in weekly sales.
In October 2014, Reddit raised $50 million in a funding round led by Sam Altman and including investors Marc Andreessen, Peter Thiel, Ron Conway, Snoop Dogg and Jared Leto.
In April 2015, Broadus became a minority investor in his first investment venture Eaze, a California-based weed delivery startup that promises to deliver medical marijuana to persons' doorsteps in less than 10 minutes.
In October 2015, Broadus launched his new digital media business, Merry Jane, that focuses on news about marijuana. "Merry Jane is cannabis 2.0", he said in a promotional video for the media source. "A crossroads of pot culture, business, politics, health."
In November 2015, Broadus announced his new brand of cannabis products, Leafs By Snoop. The line of branded products includes marijuana flowers, concentrates and edibles. "Leafs By Snoop is truly the first mainstream cannabis brand in the world and proud to be a pioneer", Snoop Dogg said. In such a way, Broadus became the first major celebrity to brand and market a line of legal marijuana products.
On March 30, 2016, Broadus was reported to be considering purchasing the famed soul food restaurant chain Roscoe's House of Chicken and Waffles out of bankruptcy.
In 2019, Snoop Dogg ventured into the video game business, creating his own esports league known as the "Gangsta Gaming League".
World records
Largest paradise cocktail
At the BottleRock Napa Valley music festival on May 26, 2018, Snoop Dogg, Warren G, Kendall Coleman, Kim Kaechele and Michael Voltaggio set the Guinness World Record for the largest paradise cocktail. Measuring , the "Gin and Juice" drink was mixed from 180 bottles of gin, 156 bottles of apricot brandy and 28 jugs of orange juice.
Reported volume and content
Time reported its total volume as "...more than 132 gallons [], according to Guinness...", following with an embedded tweet by Liam Mayclem via GWR (the Guinness World Records' official Twitter account), showing a reply from GWR to its own tweet stating "[t]he cocktail contained 180 bottles of Hendricks gin, 154 bottles of apricot brandy and 38 3.78 litre jugs of orange juice..."
Mixmag, NME and USA Today published the same content quantities as GWR's tweet. with Mixmag reporting that "[a]ccording to Guinness the cocktail measured at 132 gallons." NME states that the total volume was "...more than 132 gallons" and USA Todays European website states that "[a] Guinness World Records official was on hand to certify the record of the 550 liter cocktail."
Billboard published that "...the concoction required 180 handles of Hendricks gin, resulting in a gigantic beverage...".
Legal incidents
Shortly after graduating from high school in 1989, Broadus was arrested for possession of cocaine and for the following three years was frequently in and out of prison. In 1990, he was convicted of felony possession of drugs and possession for sale.
While recording Doggystyle in August 1993, Snoop Dogg was arrested in connection with the death of a member of a rival gang who was allegedly shot and killed by Snoop Dogg's bodyguard; Snoop Dogg had been temporarily living in an apartment complex in the Palms neighborhood in the West Los Angeles region, in the intersection of Vinton Avenue and Woodbine Street - the location of the shooting. Both men were charged with murder, as Snoop Dogg was purportedly driving the vehicle from which the gun was fired. Johnnie Cochran defended them. Both Snoop Dogg and his bodyguard were acquitted on February 20, 1996.
In July 1993, Snoop Dogg was stopped for a traffic violation and a firearm was found by police during a search of his car. In February 1997, he pleaded guilty to possession of a handgun and was ordered to record three public service announcements, pay a $1,000 fine, and serve three years' probation.
In September 2006, Snoop Dogg was detained at John Wayne Airport in Orange County, California by airport security, after airport screeners found a collapsible police baton in Snoop's carry-on bag. Donald Etra, Snoop's lawyer, told deputies the baton was a prop for a musical sketch. Snoop was sentenced to three years' probation and 160 hours of community service for the incident starting in September 2007. Snoop Dogg was arrested again in October 2006 at Bob Hope Airport in Burbank after being stopped for a traffic infraction; he was arrested for possession of a firearm and for suspicion of transporting an unspecified amount of marijuana, according to a police statement. The following month, after taping an appearance on The Tonight Show with Jay Leno, he was arrested again for possession of marijuana, cocaine and a firearm. Two members of Snoop's entourage, according to the Burbank police statement, were admitted members of the Rollin 20's Crips gang, and were arrested on separate charges. In April 2007, he was given a three-year suspended sentence, five years' probation, and 800 hours of community service after pleading no contest to two felony charges of drug and gun possession by a convicted felon. He was also prohibited from hiring anyone with a criminal record or gang affiliation as a security guard or a driver.
On April 26, 2006, Snoop Dogg and members of his entourage were arrested after being turned away from British Airways' first class lounge at Heathrow Airport in London, England. Snoop and his party were denied entry to the lounge due to some members flying in economy class. After being escorted outside, the group got in a fight with the police and vandalized a duty-free shop. Seven police officers were injured during the incident. After a night in jail, Snoop and the other men were released on bail the next day, but he was unable to perform a scheduled concert in Johannesburg. On May 15, the Home Office decided that Snoop Dogg would be denied entry to the United Kingdom for the foreseeable future, and his British visa was denied the following year. As of March 2010, Snoop Dogg was allowed back into the UK. The entire group was banned from British Airways "for the foreseeable future”.
In April 2007, the Australian Department of Immigration and Citizenship banned him from entering the country on character grounds, citing his prior criminal convictions. He had been scheduled to appear at the MTV Australia Video Music Awards on April 29, 2007. The Australian Department of Immigration and Citizenship lifted the ban in September 2008 and had granted him a visa to tour Australia. The DIAC said: "In making this decision, the department weighed his criminal convictions against his previous behaviour while in Australia, recent conduct – including charity work – and any likely risk to the Australian community ... We took into account all relevant factors and, on balance, the department decided to grant the visa."
Snoop was banned from entering Norway for two years in July 2012 after entering the country the month before in possession of 8 grams (0.3 oz) of marijuana and an undeclared 227,000 kr in cash, or about as of August 2018.
Snoop Dogg, after performing for a concert in Uppsala, Sweden on July 25, 2015, was pulled over and detained by Swedish police for allegedly using illegal drugs, violating a Swedish law enacted in 1988, which criminalized the recreational use of such substances – therefore making even being under the influence of any illegal/controlled substance a crime itself without possession. During the detention, he was taken to the police station to perform a drug test and was released shortly afterwards. The rapid test was positive for traces of narcotics, and he was potentially subject to fines depending on the results of more detailed analysis. Although final results "strongly" indicated drug use, the charges were ultimately dropped because it could not be proven that he was in Sweden when he consumed the substances. The rapper uploaded several videos on the social networking site Instagram, criticizing the police for alleged racial profiling; police spokesman Daniel Nilsson responded to the accusations, saying, "we don't work like that in Sweden." He declared in the videos, "Niggas got me in the back of police car right now in Sweden, cuz,” and "Pulled a nigga over for nothing, taking us to the station where I've got to go pee in a cup for nothin'. I ain't done nothin'. All I did was came to the country and did a concert, and now I've got to go to the police station. For nothin'!" He announced to his Swedish fanbase that he would no longer go on tour in the country due to the incident.
Snoop Dogg has also been arrested and fined three times for misdemeanor possession of marijuana: in Los Angeles in 1998, Cleveland, Ohio in 2001, and Sierra Blanca, Texas in 2010.
In the Death Row Records bankruptcy case, Snoop Dogg lost $2 million.
In February 2022, a woman sued Snoop Dogg for $10 million, alleging that he sexually assaulted her in May 2013 following a concert in Anaheim, California. A source representing Snoop Dogg has denied the accusation. Snoop Dogg was also sued for sexual assault in 2005.
DiscographyStudio albumsDoggystyle (1993)
Tha Doggfather (1996)
Da Game Is to Be Sold, Not to Be Told (1998)
No Limit Top Dogg (1999)
Tha Last Meal (2000)
Paid tha Cost to Be da Boss (2002)
R&G (Rhythm & Gangsta): The Masterpiece (2004)
Tha Blue Carpet Treatment (2006)
Ego Trippin' (2008)
Malice n Wonderland (2009)
Doggumentary (2011)
Reincarnated (2013)
Bush (2015)
Coolaid (2016)
Neva Left (2017)
Bible of Love (2018)
I Wanna Thank Me (2019)
From tha Streets 2 tha Suites (2021)
BODR (2022)Collaboration albumsTha Eastsidaz with Tha Eastsidaz (2000)
Duces 'n Trayz: The Old Fashioned Way with Tha Eastsidaz (2001)
The Hard Way with 213 (2004)
Mac & Devin Go to High School with Wiz Khalifa (2011)
7 Days of Funk with 7 Days of Funk (2013)
Royal Fam with Tha Broadus Boyz (2013)
Cuzznz with Daz Dillinger (2016)
Filmography
{| class="wikitable"
|- style="background:#ccc; text-align:center;"
! colspan="4" style="background: LightSteelBlue;" | Television
|- style="background:#ccc; text-align:center;"
! Year
! Title
! Role
! Notes
|-
| 1993–1994
| The Word
| Himself
| 2 episodes
|-
| 1994
| Martin
| Himself
| Episode: "No Love Lost"
|-
| 1997
| The Steve Harvey Show
| Himself
| Episode: "I Do, I Don't"
|-
| 2001
| King of the Hill
| Alabaster Jones
| Episode: "Ho Yeah!"
|-
| 2001
| Just Shoot Me
| Himself
| Episode: "Finch in the Dogg House"
|-
| 2002–2003
| Doggy Fizzle Televizzle
| Himself
| 8 episodes
|-
| 2003
| Playmakers
| Big E
| Episode: "Tenth of a Second"
|-
| 2003
| Crank Yankers
| Himself
| Episode: "Snoop Dogg & Kevin Nealon"
|-
| 2004
| Chappelle's Show
| Puppet Dangle/Himself
| Episode 10
|-
| 2004
| Las Vegas
| Himself
| Episode: "Two of a Kind"
|-
| 2004
| The Bernie Mac Show
| Calvin
| Episode: "Big Brother"
|-
| 2004
| The L Word
| Slim Daddy
| Episodes: "Luck, Next Time" & "Liberally"
|-
| 2004
| 2004 Spike Video Game Awards
| Host/Himself
| TV special
|-
| 2006
| Weeds
| Himself
| Episode: "MILF Money"
|-
| 2007–2009
| Snoop Dogg's Father Hood
| Himself
| 2 seasons, 18 episodes
|-
| 2007
| Monk
| Russel “Murderuss“ Kray
| Episode: "Mr. Monk and the Rapper"
|-
| 2008, 2010, 2013
| One Life to Live
| Himself
| 3 episodesWrote and produced theme song
|-
| 2009
| Dogg After Dark
| Himself
| 1 season, 7 episodes
|-
| 2009; 2015
| WWE Raw
| Host/Himself
| TV special
|-
| 2010
| The Boondocks
| Macktastic
| Episode: "Bitches to Rags"
|-
| 2010
| Big Time Rush
| Himself
| Episode: "Big Time Christmas"
|-
| 2011
| 90210| Himself
| Episode: "Blue Naomi"
|-
| 2011
| The Cleveland Show| Himself
| Episode: "Back to Cool"
|-
| 2014
| Love & Hip Hop: Atlanta| Himself
| Guest appearance
|-
| 2014
| Love & Hip Hop: Hollywood| Himself
| Guest appearance
|-
| 2015
| Snoop & Son, a Dad's Dream| Himself
| 1 season, 5 episodes
|-
| 2015
| Sanjay and Craig| Street Dogg
| Episode: "Street Dogg"
|-
| 2015
| Show Me the Money 4| Himself
| Episode 4
|-
| 2016–2017
| Trailer Park Boys| Himself
| 5 episodes
|-
| 2016
| Lip Sync Battle| Himself
| Episode: "Snoop Dogg vs Chris Paul"
|-
| 2016–present
| Martha & Snoop's Potluck Dinner Party| Himself
| Co-host
|-
| 2017
| The Simpsons| Himself
| Episode: "The Great Phatsby"
|-
| 2017
| Growing Up Hip Hop: Atlanta| Himself
| Guest appearances
|-
| 2017
| The Joker's Wild| Himself
| Host
|-
| 2018
| Coach Snoop| Himself
| All 8 Episodes of Netflix documentary
|-
| 2018
| Sugar| Himself
| Episode: "Snoop Dogg surprises a young father who is working to turn his life around".
|-
| 2019
| Law & Order: Special Victims Unit| P.T. Banks
| Episode: "Diss"
|-
| 2019
| American Dad!| Tommie Tokes
| Episode: "Jeff and the Dank Ass Weed Factory"
|-
| 2020
| F Is for Family| Rev. Sugar Squires
| Voice; episode: "R is For Rosie"
|-
| 2020
| Utopia Falls| The Archive
| Series regular
|-
| 2020
| Mariah Carey's Magical Christmas Special| Himself
| Television special
|-
| 2021
| The Voice| Himself
| Knockout Mega Mentor
|-
| 2021
| Black Mafia Family| Pastor Swift
|
|-
| 2022
| Phat Tuesdays: The Era of Hip Hop Comedy| Himself
| Documentary series
|}
Awards and legacy
Broadus was also a judge for the 7th annual Independent Music Awards to support independent artists' careers. He received the BMI Icon Award in 2011. The Washington Post, Billboard, and NME have called him a "West Coast icon"; and Press-Telegram, "an icon of gangsta rap". In 2006, Vibe magazine called him "The King of the West Coast". The Guardians Rob Fitzpatrick has credited his album Doggystyle'' for proving that rappers "could reinvent themselves", expanding rap's vocabulary, changing hip-hop fashions, and helping introduce a hip-hop genre called G-funk to a new generation. The album has been cited as an influence by rapper Kendrick Lamar, while fellow rappers ScHoolboy Q and Maxo Kream have also cited him as an influence. ABC website's Paul Donoughue has credited him among the 1990s acts that took hip-hop into the pop music charts.
Snoop Dogg acquired Death Row Records in February 2022 from the Blackstone-controlled company MNRK Music Group.
Notes
References
Further reading
External links
Official social media links
Snoop Dogg on Instagram. Archived from the original
Snoop Dogg on Spotify
Dogg on YouTube
1971 births
20th-century African-American male singers
20th-century American businesspeople
20th-century American male actors
20th-century American rappers
20th-century American singers
21st-century African-American male singers
21st-century American businesspeople
21st-century American male actors
21st-century American rappers
21st-century American singers
213 (group) members
African-American Christians
African-American film producers
African-American game show hosts
African-American investors
African-American male actors
African-American male rappers
African-American male singer-songwriters
African-American record producers
African-American television directors
African-American television personalities
African-American television producers
American businesspeople convicted of crimes
American cannabis activists
American film producers
American former Muslims
American game show hosts
American hip hop record producers
American hip hop singers
American investors
American male film actors
American male rappers
American male singer-songwriters
American male television actors
American male voice actors
American media company founders
American music industry executives
American music video directors
American online publication editors
American people convicted of drug offenses
American reality television producers
American reggae musicians
American television directors
Businesspeople from Los Angeles
Businesspeople in the cannabis industry
Cannabis music
Converts to Christianity from Islam
Converts to the Rastafari movement
Crips
Death Row Records artists
Film producers from California
Former Nation of Islam members
Former Rastafarians
Gangsta rappers
G-funk artists
Living people
Male actors from California
Male actors from Los Angeles
Mount Westmore members
MTV Europe Music Award winners
Musicians from Long Beach, California
No Limit Records artists
Participants in American reality television series
People acquitted of murder
Priority Records artists
Rappers from Los Angeles
Record producers from California
Record producers from Los Angeles
Reggae fusion artists
Singers from Los Angeles
Singer-songwriters from California
Television producers from California
Twitch (service) streamers
West Coast hip hop musicians
WWE Hall of Fame inductees | true | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim"
]
|
[
"Snoop Dogg",
"2012-13: Reincarnated and 7 Days of Funk",
"What happened in 2012-13?",
"On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album"
]
| C_f4a48950757d43dab26bdc5d8444890b_1 | What was the documentary about? | 2 | What was Snoop Dogg's Reincarnated documentary about? | Snoop Dogg | Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told that year. His other albums from No Limit were No Limit Top Dogg in 1999 (selling over 1,503,865 copies) and Tha Last Meal in 2000 (selling over 2,000,000). In 1999, his autobiography, Tha Doggfather, was published. In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, with it selling over 1,300,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image. In 2004, Snoop signed to Geffen Records/Star Trak Entertainment both of which were distributed through Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,724,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released album The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor", along with fellow rappers Lil Jon, Xzibit, and David Banner, Snoop Dogg's appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including the single "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. Also, his latest song, "Real Talk", was leaked over the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was a dedication to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the Governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio. Snoop's 2006 album, Tha Blue Carpet Treatment, debuted on the Billboard 200 at No.5 and has sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers for his single "Candy (Drippin' Like Water)". In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone prior to its release as a single, which was "It's the D.O.G.". On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie Singh Is Kinng; the title of the song is also "Singh is Kinng". He also appears in the movie as himself. The album featuring the song was released on June 8, 2008 on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy). Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice. Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 11, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010 as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain. Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' latest album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko. On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013 with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album, "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times". On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafarian priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena. In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic--they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound. In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dam-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013. CANNOTANSWER | The film was released March 21, 2013 with the album slated for release | Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg (previously Snoop Doggy Dogg and briefly Snoop Lion), is an American rapper, songwriter, media personality, actor, and entrepreneur. His fame dates to 1992 when he featured on Dr. Dre's debut solo single, "Deep Cover", and then on Dre's debut solo album, The Chronic. Broadus has since sold over 23 million albums in the United States and 35 million albums worldwide.
Broadus' debut solo album, Doggystyle, produced by Dr. Dre, was released by Death Row Records in November 1993, and debuted at number one on the popular albums chart, the Billboard 200, and on Billboards Top R&B/Hip-Hop Albums chart. Selling 800,000 copies in its first week, Doggystyle was certified quadruple-platinum in 1994 and bore several hit singles, including "What's My Name?" and "Gin and Juice". In 1994, Death Row Records released a soundtrack, by Broadus, for the short film Murder Was the Case, starring Snoop. In 1996, his second album, Tha Doggfather, also debuted at number one on both charts, with "Snoop's Upside Ya Head" as the lead single. The next year, the album was certified double-platinum.
After leaving Death Row Records in January 1998, Broadus signed with No Limit Records, releasing three Snoop albums: Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). In 2002, he signed with Priority/Capitol/EMI Records, releasing Paid tha Cost to Be da Boss. In 2004, he signed to Geffen Records, releasing his next three albums: R&G (Rhythm & Gangsta): The Masterpiece, then Tha Blue Carpet Treatment, and Ego Trippin'. Priority Records released his album Malice 'n Wonderland during 2009, followed by Doggumentary during 2011. Snoop Dogg has starred in motion pictures and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. He also coaches a youth football league and high-school football team. In September 2009, EMI hired him as the chairman of a reactivated Priority Records.
In 2012, after a trip to Jamaica, Broadus announced a conversion to Rastafari and a new alias, Snoop Lion. As Snoop Lion he released a reggae album, Reincarnated, and a documentary film of the same name, about his Jamaican experience, in early 2013. His 13th studio album, Bush, was released in May 2015 and marked a return of the Snoop Dogg name. His 14th solo studio album, Coolaid, was released in July 2016. In March 2016, the night before WrestleMania 32 in Arlington, Texas, he was inducted into the celebrity wing of the WWE Hall of Fame, having made several appearances for the company, including as master of ceremonies during a match at WrestleMania XXIV. In 2018, Snoop announced that he was "a born-again Christian" and released his first gospel album Bible of Love. On November 19, 2018, Snoop Dogg was given a star on the Hollywood Walk of Fame. He released his seventeenth solo album, I Wanna Thank Me, in 2019. In 2022, Snoop Dogg acquired Death Row Records from MNRK Music Group (formerly known as eOne Music), and released his 20th studio album, BODR. Snoop has had 17 Grammy nominations without a win.
Early life
Calvin Cordozar Broadus Jr. was born on October 20, 1971, in Long Beach, California to Vernell Varnado and Beverly Tate. Vernell, who was a Vietnam War veteran, singer, and mail carrier, left the family only three months after his birth, and thus he was named after his stepfather, Calvin Cordozar Broadus Sr. (1948–1985). His father remained largely absent from his life. As a boy, his parents nicknamed him "Snoopy" due to his love and likeness of the cartoon character from Peanuts. He was the second of his mother's three sons. His mother and stepfather divorced in 1975. When Broadus was very young, he began singing and playing piano at the Golgotha Trinity Baptist Church. In sixth grade, he began rapping. As a child, Broadus sold candy, delivered newspapers, and bagged groceries to help his family make ends meet. He was described as having been a dedicated student and enthusiastic churchgoer, active in choir and football. Broadus said in 1993 that he began engaging in unlawful activities and joining gangs in his teenage years, despite his mother's preventative efforts.
Broadus would frequently rap in school. As he recalled: "When I rapped in the hallways at school I would draw such a big crowd that the principal would think there was a fight going on. It made me begin to realize that I had a gift. I could tell that my raps interested people and that made me interested in myself."
As a teenager, Broadus frequently ran into trouble with the law. He was a member of the Rollin' 20s Crips gang in the Eastside neighborhood of Long Beach; although in 1993 he denied the frequent police and media reports by saying that he never joined a gang. Shortly after graduating from high school at Long Beach Polytechnic High School in 1989, he was arrested for possession of cocaine, and for the next three years, was frequently incarcerated, including at Wayside Jail. With his two cousins, Nate Dogg and Lil' ½ Dead, and friend Warren G, Snoop recorded homemade tapes; the four called their group 213 after the area code of their native Long Beach at that time. One of Snoop's early solo freestyles over "Hold On" by En Vogue was on a mixtape that fortuitously wound up with Dr. Dre; the influential producer was so impressed by the sample that he called Snoop to audition. Former N.W.A affiliate The D.O.C. taught him to structure his lyrics and separate the themes into verses, hooks, and choruses.
Musical career
1992–1998: Death Row, Doggystyle, and Tha Doggfather
When he began recording, Broadus took the stage name Snoop Doggy Dogg. Dr. Dre began working with him, first on the theme song of the 1992 film Deep Cover and then on Dr. Dre's debut solo album The Chronic along with the other members of his former starting group, Tha Dogg Pound. This intense exposure played a considerable part in making Snoop Dogg's debut album, Doggystyle, the critical and commercial success that it was.
Fueling the ascendance of West Coast G-funk hip hop, the singles "Who Am I (What's My Name)?" and "Gin and Juice" reached the top ten most-played songs in the United States, and the album stayed on the Billboard charts for several months. Gangsta rap became the center of arguments about censorship and labeling, with Snoop Dogg often used as an example of violent and misogynistic musicians. Unlike much of the harder-edged gangsta rap artists, Snoop Dogg seemed to show his softer side, according to music journalist Chuck Philips. Rolling Stone music critic Touré asserted that Snoop had a relatively soft vocal delivery compared to other rappers: "Snoop's vocal style is part of what distinguishes him: where many rappers scream, figuratively and literally, he speaks softly." Doggystyle, much like The Chronic, featured a host of rappers signed to or affiliated with the Death Row label including Daz Dillinger, Kurupt, Nate Dogg, and others.
In 1993, Snoop Dogg was charged with first-degree murder for the shooting of Philip Woldermariam, a member of a rival gang who was actually killed by Snoop’s bodyguard, McKinley Lee, aka Malik. Broadus was acquitted on February 20, 1996. According to Broadus, after he was acquitted he did not want to continue living the "gangsta" lifestyle, because he felt that continuing his behavior would result in his assassination or a prison term. A short film about Snoop Dogg's murder trial, Murder Was the Case, was released in 1994, along with an accompanying soundtrack. On July 6, 1995, Doggy Style Records, Inc., a record label founded by Snoop Dogg, was registered with the California Secretary of State as business entity number C1923139.
After his acquittal, he, the mother of his son, and their kennel of 20 pit bulls moved into a home in the hills of Claremont, California and by August 1996 Doggy Style Records, a subsidiary of Death Row Records, signed the Gap Band Charlie Wilson as one of its first artists. He collaborated with fellow rap artist Tupac Shakur on the 1996 single "2 of Amerikaz Most Wanted". This was one of Shakur's last songs while alive; he was shot on September 7, 1996, in Las Vegas, dying six days later.
By the time Snoop Dogg's second album, Tha Doggfather, was released in November 1996, the price of appearing to live the gangsta life had become very evident. Among the many notable hip hop industry deaths and convictions were the death of Snoop Dogg's friend and labelmate Tupac Shakur and the racketeering indictment of Death Row co-founder Suge Knight. Dr. Dre had left Death Row earlier in 1996 because of a contract dispute, so Snoop Dogg co-produced Tha Doggfather with Daz Dillinger and DJ Pooh.
This album featured a distinct change of style from Doggystyle, and the leadoff single, "Snoop's Upside Ya Head", featured a collaboration with Charlie Wilson The album sold reasonably well but was not as successful as its predecessor. Tha Doggfather had a somewhat softer approach to the G-funk style. After Dr. Dre withdrew from Death Row Records, Snoop realized that he was subject to an ironclad time-based contract (i.e., that Death Row practically owned anything he produced for a number of years), and refused to produce any more tracks for Suge Knight other than the insulting "Fuck Death Row" until his contract expired. In an interview with Neil Strauss in 1998, Snoop Dogg said that though he had been given lavish gifts by his former label, they had withheld his royalty payments.
Stephen Thomas Erlewine of Allmusic said that after Tha Doggfather, Snoop Dogg began "moving away from his gangsta roots toward a calmer lyrical aesthetic": for instance, Snoop participated in the 1997 Lollapalooza concert tour, which featured mainly alternative rock music. Troy J. Augusto of Variety noticed that Snoop's set at Lollapalooza attracted "much dancing, and, strangely, even a small mosh pit" in the audience.
1998–2006: Signing with No Limit and continued success
Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in March 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told later that year. He said at the time that "Snoop Dogg is universal so he can fit into any camp-especially a camp that knows how to handmake shit[;] [a]nd, No Limit hand makes material. They make material fittin' to the artist and they know what type of shit Snoop Dogg is supposed to be on. That's why it's so tight." [sic] His other albums on No Limit were No Limit Top Dogg in 1999 (selling over 1,510,000 copies) and Tha Last Meal in 2000 (selling over 2,100,000). In 1999, his autobiography, Tha Doggfather, was published.
In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, selling over 1,310,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image.
In June 2004, Snoop signed to Geffen Records/Star Trak Entertainment, both distributed by Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,730,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included the single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor" along with fellow rappers Lil Jon, Xzibit, and David Banner,
Snoop Dogg appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. His song "Real Talk" was leaked on the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was dedicated to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio.
Snoop's 2006 album Tha Blue Carpet Treatment debuted on the Billboard 200 at No.5 and sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers on the single "Candy (Drippin' Like Water)".
2007–2012: Ego Trippin', Malice n Wonderland and Doggumentary
In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone before its release as a single, "It's the D.O.G." On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie, Singh Is Kinng; the song title is also "Singh is Kinng". He appears in the movie as himself. The album featuring the song was released on June 8, 2008, on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy).
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice.
Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 7, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010, as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain.
Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko.
2012–2013: Reincarnated and 7 Days of Funk
On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013, with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album: "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times".
On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafari priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena.
In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic—they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound.
In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dâm-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013.
2014–2017: Bush, Coolaid, and Neva Left
In August 2014, a clip surfaced online featuring a sneak preview of a song Snoop had recorded for Pharrell. Snoop's Pharrell Williams-produced album Bush was released on May 12, 2015, with the first single "Peaches N Cream" having been released on March 10, 2015.
On June 13, 2016, Snoop Dogg announced the release date for his album Coolaid, which was released on July 1, 2016. He headlined a "unity party" for donors at Philly's Electric Factory on July 28, 2016, the last day of the Democratic National Convention. Released March 1, 2017, through his own Doggy Style Records, "Promise You This" precedes the release of his upcoming Coolaid film based on the album of the same name. Snoop Dogg released his fifteenth studio album Neva Left in May 2017.
2018–2021: Bible of Love, I Wanna Thank Me, and From tha Streets 2 tha Suites
He released a gospel album titled Bible of Love on March 16, 2018. Snoop was featured on Gorillaz' latest album The Now Now on a track called: "Hollywood" with Jamie Principle. In November 2018, Snoop Dogg announced plans for his Puff Puff Pass tour, which features Bone Thugs-n-Harmony, Too $hort, Warren G, Kurupt, and others. The tour ran from November 24 to January 5.
Snoop Dogg was featured on Lil Dicky's April 2019 single "Earth", where he played the role of a marijuana plant in both the song's lyrics and animated video. Snoop Dogg was among hundreds of artists whose material was destroyed in the 2008 Universal fire. On July 3, 2019, Snoop Dogg released the title track from his upcoming 17th studio album, I Wanna Thank Me. The album was released on August 16, 2019. Snoop Dogg collaborated with Vietnamese singer Son Tung M-TP in "Hãy trao cho anh" ("Give it to Me"), which was officially released on July 1, 2019. As of October 3, 2019, the music video has amassed over 158 million views on YouTube.
Early in 2020, it was announced that Snoop had rescheduled his tour in support of his I Wanna Thank You album and documentary of the same name. The tour has been rescheduled to commence in February 2021. In May 2020, Snoop released the song "Que Maldicion", a collaboration with Banda Sinaloense de Sergio Lizarraga, peaking at number one on the Billboard Bubbling Under Hot 100.
On April 20, 2021, Snoop Dogg released his eighteenth studio album From tha Streets 2 tha Suites. It was announced on April 7, 2021, via Instagram. The album received generally positive reviews from critics.
During an interview on the September 27 airing of The Tonight Show Starring Jimmy Fallon, Snoop Dogg announced Algorithm. The album was released on November 19, 2021.
2022-present: Super Bowl Halftime Show performance and BODR
Snoop Dogg performed at the Super Bowl LVI Halftime Show alongside Dr. Dre, Eminem, Mary J. Blige, and Kendrick Lamar.
In January 2022, Snoop Dogg announced that he would release his 19th studio album, BODR, on the same day as his Super Bowl Halftime Show performance. However, the album's release was pushed forward two days and was released on February 11, 2022.
On , Snoop Dogg announced that he is officially in charge at Death Row Records.
Other ventures
Broadus has appeared in numerous films and television episodes throughout his career. His starring roles in film includes The Wash (with Dr. Dre) and the horror film Bones. He also co-starred with rapper Wiz Khalifa in the 2012 movie Mac and Devin Go to High School which a sequel has been announced. He has had various supporting and cameo roles in film, including Half Baked, Training Day, Starsky & Hutch, and Brüno.
He has starred in three television programs: sketch-comedy show Doggy Fizzle Televizzle, variety show Dogg After Dark, and reality show Snoop Dogg's Father Hood (also starring Snoop's wife and children). He has starred in episodes of King of the Hill, Las Vegas, and Monk, one episode of Robot Chicken, as well as three episodes of One Life to Live. He has participated in three Comedy Central Roasts, for Flavor Flav, Donald Trump, and Justin Bieber. Cameo television appearances include episodes of The L Word, Weeds, Entourage, I Get That a Lot, Monk, and The Price Is Right. He has also appeared in an episode of the YouTube video series, Epic Rap Battles of History as Moses.
In 2000, Broadus (as "Michael J. Corleone") directed Snoop Dogg's Doggystyle, a pornographic film produced by Hustler. The film, combining hip hop with x-rated material, was a huge success and won "Top Selling Release of the Year" at the 2002 AVN Awards. Snoop then directed Snoop Dogg's Hustlaz: Diary of a Pimp in 2002 (using the nickname "Snoop Scorsese").
Broadus founded his own production company, Snoopadelic Films, in 2005. Their debut film was Boss'n Up, a film inspired by Snoop Dogg's album R&G, starring Lil Jon and Trina.
On March 30, 2008, he appeared at WrestleMania XXIV as a Master of Ceremonies for a tag team match between Maria and Ashley Massaro as they took on Beth Phoenix and Melina. At WrestleMania 32, he accompanied his cousin Sasha Banks to the ring for her match, rapping over her theme music. He was also inducted into the WWE Hall of Fame in 2016.
In December 2013, Broadus performed at the annual Kennedy Center Honors concert, honoring jazz pianist Herbie Hancock. After his performance, Snoop credited Hancock with "inventing hip-hop".
On several occasions, Broadus has appeared at the Players Ball in support of Bishop Don Magic Juan. Juan appeared on Snoop's videos for "Boss Playa", "A.D.I.D.A.C.", "P.I.M.P. (Remix)", "Nuthin' Without Me" and "A Pimp's Christmas Song".
In January 2016, a Change.org petition was created in the hopes of having Broadus narrate the entire Planet Earth series. The petition comes after Snoop narrated a number of nature clips on Jimmy Kimmel Live!
In April 2016, Broadus performed "Straight outta Compton" and "Fuck tha Police" at Coachella, during a reunion of N.W.A. members Dr. Dre, Ice Cube and MC Ren.
He hosted a Basketball fundraiser "Hoops 4 Water" for Flint, Michigan. The event occurred on May 21, 2016, and was run by former Toronto Raptors star and Flint native Morris Peterson.
In the fall of 2016, VH1 premiered a new show featuring Broadus and his friend Martha Stewart at called Martha & Snoop's Potluck Dinner Party, featuring games, recipes, and musical guests. Broadus and Stewart also later starred together in a Super Bowl commercial for T-Mobile during Super Bowl LI in February 2017.
Broadus hosts a revival of The Joker's Wild, which spent its first two seasons on TBS before moving to TNT in January 2019. He is in the film, Sponge on the Run.
Broadus has also created a fried chicken recipe, with barbecue flavor potato chips as an added ingredient in the batter.
In early 2020, Broadus launched his debut wine release, under the name "Snoop Cali Red", in a partnership with the Australian wine brand, 19 Crimes. The red wine blend features Snoop's face on the label.
Broadus provided commentary for Mike Tyson vs. Roy Jones Jr., who some pundits described as having "won" the night through his colorful commentary and reactions. At one point, Snoop described Tyson and Jones as "like two of my uncles fighting at the barbecue"; he also began singing a hymn, Take My Hand, Precious Lord, during the undercard fight between Jake Paul and Nate Robinson, after Robinson was knocked down.
Broadus made a special guest appearance in All Elite Wrestling on the January 6, 2021, episode of AEW Dynamite, titled New Year's Smash. During this appearance, Snoop appeared in the corner of Cody Rhodes during Rhodes' match with Matt Sydal. He later gave Serpentico a Frog Splash, with Rhodes then delivering a three-count.
In June 2021, Snoop Dogg officially joined Def Jam Recordings as its new Executive Creative and Strategic Consultant, a role allowing him to strategically work across the label’s executive team and artist roster. His immediate focus was A&R and creative development, reporting to Universal Music Group Chairman & CEO Sir Lucian Grainge as well as Def Jam interim Chairman and CEO Jeffrey Harleston. On November 12, 2021, Snoop Dogg announced the signing of Benny the Butcher on Joe Rogan's podcast.
In February 2022, it was announced that Snoop Dogg had fully acquired Death Row Records from its previous owners, The MNRK Music Group (formerly eOne Music). The label was also revived when Snoop Dogg released his 20th album BODR.
Style and rap skills
Kool Moe Dee ranks Broadus at No. 33 in his book There's a God on the Mic, and says he has "an ultra-smooth, laidback delivery" and "flavor-filled melodic rhyming".
Peter Shapiro describes Broadus’ delivery as a "molasses drawl" and AllMusic notes his "drawled, laconic rhyming" style. Kool Moe Dee refers to Snoop's use of vocabulary, saying he "keeps it real simple...he simplifies it and he's effective in his simplicity".
Broadus is known to freestyle some of his lyrics on the spot – in the book How to Rap, Lady of Rage says, "When I worked with him earlier in his career, that's how created his stuff... he would freestyle, he wasn't a writer then, he was a freestyler", and The D.O.C. states, "Snoop's [rap] was a one take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busting. The song was "Tha Shiznit"—that was all freestyle. He started busting and when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then."
Peter Shapiro says that Broadus debuted on "Deep Cover" with a "shockingly original flow – which sounded like a Slick Rick born in South Carolina instead of South London" and adds that he "showed where his style came from by covering Slick Rick's 'La Di Da Di'". Referring to Snoop's flow, Kool Moe Dee calls him "one of the smoothest, funkiest flow-ers in the game". How to Rap also notes that Snoop is known to use syncopation in his flow to give it a laidback quality, as well as 'linking with rhythm' in his compound rhymes, using alliteration, and employing a "sparse" flow with good use of pauses.
Broadus popularized the use of -izzle speak particularly in the pop and hip-hop music industry. A type of infix, it first found popularity when used by Frankie Smith in his 1981 hit song Double Dutch Bus.
Broadus listed his favourite rap albums for Hip Hop Connection:
10. Mixmaster Spade, The Genius Is Back
9. Lauryn Hill, The Miseducation of Lauryn Hill
8. Ice Cube, Death Certificate
7. 2Pac, Me Against the World
6. The Notorious B.I.G., Ready to Die
5. N.W.A, Straight Outta Compton
4. Eric B. & Rakim, Paid in Full
3. Slick Rick, The Great Adventures of Slick Rick
2. Snoop Doggy Dogg, Doggystyle
1. Dr. Dre, The Chronic ("It's da illest shit")
Personal life
Snoop married his high school girlfriend, Shante Taylor, on June 12, 1997. On May 21, 2004, he filed for divorce from Taylor, citing irreconcilable differences. The couple however remarried on January 12, 2008. They have three children together: sons Cordé (born August 21, 1994) and Cordell (born February 21, 1997), who quit football to pursue a career as a film maker, and daughter Cori (born June 22, 1999). Snoop also has a son from a relationship with Laurie Holmond, Julian Corrie Broadus (born 1998). He is a first cousin of R&B singers Brandy and Ray J, and WWE professional wrestler Sasha Banks. In 2015 Snoop became a grandfather, as his eldest son, Cordé Broadus, had a son with his girlfriend, Jessica Kyzer. Cordé had another son, Kai, who died on September 25, 2019, ten days after birth.
Since the start of his career, Snoop has been an avowed cannabis smoker, making it one of the trademarks of his image. In 2002, he announced he was giving up cannabis for good; that did not last long (a situation famously referenced in the 2004 Adam Sandler movie 50 First Dates) and in 2013, he claimed to be smoking approximately 80 cannabis blunts a day. He has been certified for medical cannabis in California to treat migraines since at least 2007.
Snoop claimed in a 2006 interview with Rolling Stone magazine that unlike other hip hop artists who had superficially adopted the pimp persona, he was an actual professional pimp in 2003 and 2004, saying, "That shit was my natural calling and once I got involved with it, it became fun. It was like shootin' layups for me. I was makin' 'em every time."
On October 24, 2021, Snoop's mother, Beverly Tate, died.
Sports
Snoop is an avid sports fan, including hometown teams Los Angeles Dodgers, Los Angeles Lakers, and USC Trojans, as well as the Pittsburgh Steelers. He has stated that he began following the Steelers in the 1970s while watching the team with his grandfather. He is also a fan of the Las Vegas Raiders, Los Angeles Rams, and Dallas Cowboys, often wearing a No. 5 jersey, and has been seen at Raiders training camps. He has shown affection for the New England Patriots, having been seen performing at Gillette Stadium. He is an avid ice hockey fan, sporting jerseys from the NHL's Los Angeles Kings, Pittsburgh Penguins, Toronto Maple Leafs and the Boston Bruins as well at the AHL's Springfield Indians in his 1994 music video "Gin and Juice". Snoop has been seen attending Los Angeles Kings games. On his reality show Snoop Dogg's Father Hood, Snoop and his family received hockey lessons from the Anaheim Ducks, then returned to the Honda Center to cheer on the Ducks against the Vancouver Canucks in the episode "Snow in da Hood". Snoop appeared in the video game NHL 20 as both a guest commentator and a playable character in the "World of Chel" game mode.
Snoop is a certified football coach and has been head coach of his son Cordell's youth football teams. Cordell played wide receiver and defensive back at Bishop Gorman High School in Las Vegas, Nevada, Cordell played on the 2014 state championship team, and received football scholarship offers from Southern California, UCLA, Washington, Cal, Oregon State, Duke, and Notre Dame. Cordell committed and signed a letter of intent to play for UCLA on February 4, 2015. On August 14, 2015, UCLA announced that Cordell had left the UCLA football team "to pursue other passions in his life".
Since 2005, Snoop Dogg has been operating a youth football league in the Los Angeles area. He is a coach in the league, and one of the seasons he coached was documented in the Netflix documentary Coach Snoop.
Religion
In 2009, it was reported that Snoop was a member of the Nation of Islam. On March 1, he made an appearance at the Nation of Islam's annual Saviours' Day holiday, where he praised minister Louis Farrakhan. Snoop said he was a member of the Nation, but declined to give the date on which he joined. He also donated $1,000 to the organization.
Claiming to be "born again" in 2012, Snoop converted to the Rastafari movement, switched the focus of his music to reggae and changed his name to Snoop Lion after a trip to Jamaica. He released a reggae album, Reincarnated, saying, "I have always said I was Bob Marley reincarnated".
In January 2013, he received criticism from members of the Rastafari community in Jamaica, including reggae artist Bunny Wailer, for alleged failure to meet his commitments to the culture. Snoop later dismissed the claims, stating his beliefs were personal and not up for outside judgment.
After releasing Bible of Love in early 2018 and performing in the 33rd Annual Stellar Gospel Music Awards, Snoop Dogg told a TV One interviewer while speaking of his Gospel influences that he "always referred to [his] savior Jesus Christ" on most of his records, and that he had become "a born-again Christian".
Charity
In 2005, Snoop Dogg founded the Snoop Youth Football League for at-risk youth in Southern California. In 2018, it was claimed to be the largest youth football organization in Southern California, with 50 teams and more than 1,500 players.
Snoop Dogg partners with city officials and annually gives away turkeys to the less fortunate in Inglewood, California at Thanksgiving. He gave away 3000 turkeys in 2016.
Politics
In 2012, Snoop Dogg endorsed Representative Ron Paul in the Republican presidential primary, but later said he would vote for Barack Obama in the general election, and on Instagram gave ten reasons to vote for Obama (including "He a black nigga", "He's BFFs with Jay-Z", and "Michelle got a fat ass"), and ten reasons not to vote for Mitt Romney (including "He a white nigga", "That muthafucka's name is Mitt", and "He a ho").
In a 2013 interview with The Huffington Post, Snoop Dogg advocated for same-sex marriage, saying, “People can do what they want and as they please."
In his keynote address at the 2015 South by Southwest music festival, he blamed Los Angeles's explosion of gang violence in the 1980s on the economic policies of Ronald Reagan, and insinuated that his administration shipped guns and drugs into the area.
He endorsed presidential candidate Hillary Clinton on Bravo's Watch What Happens Live in May 2015, saying, "I would love to see a woman in office because I feel like we're at that stage in life to where we need a perspective other than the male's train of thought" and "[...] just to have a woman speaking from a global perspective as far as representing America, I'd love to see that. So I'll be voting for Mrs. Clinton."
Following the deadly shooting of five police officers in Dallas on July 7, 2016, Snoop Dogg and The Game organized and led a peaceful march to the Los Angeles Police Department headquarters. The subsequent private meeting with the mayor Eric Garcetti and police chief Charlie Beck, and news conference was, according to Broadus, "[...] to get some dialogue and the communication going [...]". The march and conference were part of an initiative called "Operation ", serving as a police brutality protest in response to the police shooting and killing of two black men, Philando Castile and Alton Sterling, whose killing prompted nationwide protests including those that led to the Dallas killing of police officers. Broadus stated that "We are tired of what is going on and it's communication that is lacking". Reports of attendance range between 50–100 people.
Snoop Dogg advocates for the defunding of police departments, saying "We need to start taking that money out of their pocket and put it back into our communities where we can police ourselves." In 2020, he endorsed former Vice President Joe Biden for President of the United States.
Animal rights
Snoop Dogg regularly appears in real fur garments, especially large coats, for which he attracts criticism from animal welfare charities and younger audiences. In a video podcast in 2012, the rapper asked "Why doesn't PETA throw paint on a pimp's fur coat". In 2014, Snoop Dogg claimed to have become a vegan. In June 2018, he performed at the Environmental Media Association (EMA) Honors Gala. While he was performing, the logo for Beyond Meat was displayed on the screens behind him. In 2020, Snoop Dogg invested in vegan food company Original Foods, which makes Pigless Pork Rinds, which he has said are a favorite. He is an ambassador for vegan brand Beyond Meat.
Business ventures and investments
Broadus has been an active entrepreneur and investor. In 2009, he was appointed creative chairman of Priority Records.
In May 2013, Broadus and his brand manager Nick Adler released an app, Snoopify, that lets users plaster stickers of Snoop's face, joints or a walrus hat on photos. Adler built the app in May after discovering stickers in Japan. As of 2015, the app was generating $30,000 in weekly sales.
In October 2014, Reddit raised $50 million in a funding round led by Sam Altman and including investors Marc Andreessen, Peter Thiel, Ron Conway, Snoop Dogg and Jared Leto.
In April 2015, Broadus became a minority investor in his first investment venture Eaze, a California-based weed delivery startup that promises to deliver medical marijuana to persons' doorsteps in less than 10 minutes.
In October 2015, Broadus launched his new digital media business, Merry Jane, that focuses on news about marijuana. "Merry Jane is cannabis 2.0", he said in a promotional video for the media source. "A crossroads of pot culture, business, politics, health."
In November 2015, Broadus announced his new brand of cannabis products, Leafs By Snoop. The line of branded products includes marijuana flowers, concentrates and edibles. "Leafs By Snoop is truly the first mainstream cannabis brand in the world and proud to be a pioneer", Snoop Dogg said. In such a way, Broadus became the first major celebrity to brand and market a line of legal marijuana products.
On March 30, 2016, Broadus was reported to be considering purchasing the famed soul food restaurant chain Roscoe's House of Chicken and Waffles out of bankruptcy.
In 2019, Snoop Dogg ventured into the video game business, creating his own esports league known as the "Gangsta Gaming League".
World records
Largest paradise cocktail
At the BottleRock Napa Valley music festival on May 26, 2018, Snoop Dogg, Warren G, Kendall Coleman, Kim Kaechele and Michael Voltaggio set the Guinness World Record for the largest paradise cocktail. Measuring , the "Gin and Juice" drink was mixed from 180 bottles of gin, 156 bottles of apricot brandy and 28 jugs of orange juice.
Reported volume and content
Time reported its total volume as "...more than 132 gallons [], according to Guinness...", following with an embedded tweet by Liam Mayclem via GWR (the Guinness World Records' official Twitter account), showing a reply from GWR to its own tweet stating "[t]he cocktail contained 180 bottles of Hendricks gin, 154 bottles of apricot brandy and 38 3.78 litre jugs of orange juice..."
Mixmag, NME and USA Today published the same content quantities as GWR's tweet. with Mixmag reporting that "[a]ccording to Guinness the cocktail measured at 132 gallons." NME states that the total volume was "...more than 132 gallons" and USA Todays European website states that "[a] Guinness World Records official was on hand to certify the record of the 550 liter cocktail."
Billboard published that "...the concoction required 180 handles of Hendricks gin, resulting in a gigantic beverage...".
Legal incidents
Shortly after graduating from high school in 1989, Broadus was arrested for possession of cocaine and for the following three years was frequently in and out of prison. In 1990, he was convicted of felony possession of drugs and possession for sale.
While recording Doggystyle in August 1993, Snoop Dogg was arrested in connection with the death of a member of a rival gang who was allegedly shot and killed by Snoop Dogg's bodyguard; Snoop Dogg had been temporarily living in an apartment complex in the Palms neighborhood in the West Los Angeles region, in the intersection of Vinton Avenue and Woodbine Street - the location of the shooting. Both men were charged with murder, as Snoop Dogg was purportedly driving the vehicle from which the gun was fired. Johnnie Cochran defended them. Both Snoop Dogg and his bodyguard were acquitted on February 20, 1996.
In July 1993, Snoop Dogg was stopped for a traffic violation and a firearm was found by police during a search of his car. In February 1997, he pleaded guilty to possession of a handgun and was ordered to record three public service announcements, pay a $1,000 fine, and serve three years' probation.
In September 2006, Snoop Dogg was detained at John Wayne Airport in Orange County, California by airport security, after airport screeners found a collapsible police baton in Snoop's carry-on bag. Donald Etra, Snoop's lawyer, told deputies the baton was a prop for a musical sketch. Snoop was sentenced to three years' probation and 160 hours of community service for the incident starting in September 2007. Snoop Dogg was arrested again in October 2006 at Bob Hope Airport in Burbank after being stopped for a traffic infraction; he was arrested for possession of a firearm and for suspicion of transporting an unspecified amount of marijuana, according to a police statement. The following month, after taping an appearance on The Tonight Show with Jay Leno, he was arrested again for possession of marijuana, cocaine and a firearm. Two members of Snoop's entourage, according to the Burbank police statement, were admitted members of the Rollin 20's Crips gang, and were arrested on separate charges. In April 2007, he was given a three-year suspended sentence, five years' probation, and 800 hours of community service after pleading no contest to two felony charges of drug and gun possession by a convicted felon. He was also prohibited from hiring anyone with a criminal record or gang affiliation as a security guard or a driver.
On April 26, 2006, Snoop Dogg and members of his entourage were arrested after being turned away from British Airways' first class lounge at Heathrow Airport in London, England. Snoop and his party were denied entry to the lounge due to some members flying in economy class. After being escorted outside, the group got in a fight with the police and vandalized a duty-free shop. Seven police officers were injured during the incident. After a night in jail, Snoop and the other men were released on bail the next day, but he was unable to perform a scheduled concert in Johannesburg. On May 15, the Home Office decided that Snoop Dogg would be denied entry to the United Kingdom for the foreseeable future, and his British visa was denied the following year. As of March 2010, Snoop Dogg was allowed back into the UK. The entire group was banned from British Airways "for the foreseeable future”.
In April 2007, the Australian Department of Immigration and Citizenship banned him from entering the country on character grounds, citing his prior criminal convictions. He had been scheduled to appear at the MTV Australia Video Music Awards on April 29, 2007. The Australian Department of Immigration and Citizenship lifted the ban in September 2008 and had granted him a visa to tour Australia. The DIAC said: "In making this decision, the department weighed his criminal convictions against his previous behaviour while in Australia, recent conduct – including charity work – and any likely risk to the Australian community ... We took into account all relevant factors and, on balance, the department decided to grant the visa."
Snoop was banned from entering Norway for two years in July 2012 after entering the country the month before in possession of 8 grams (0.3 oz) of marijuana and an undeclared 227,000 kr in cash, or about as of August 2018.
Snoop Dogg, after performing for a concert in Uppsala, Sweden on July 25, 2015, was pulled over and detained by Swedish police for allegedly using illegal drugs, violating a Swedish law enacted in 1988, which criminalized the recreational use of such substances – therefore making even being under the influence of any illegal/controlled substance a crime itself without possession. During the detention, he was taken to the police station to perform a drug test and was released shortly afterwards. The rapid test was positive for traces of narcotics, and he was potentially subject to fines depending on the results of more detailed analysis. Although final results "strongly" indicated drug use, the charges were ultimately dropped because it could not be proven that he was in Sweden when he consumed the substances. The rapper uploaded several videos on the social networking site Instagram, criticizing the police for alleged racial profiling; police spokesman Daniel Nilsson responded to the accusations, saying, "we don't work like that in Sweden." He declared in the videos, "Niggas got me in the back of police car right now in Sweden, cuz,” and "Pulled a nigga over for nothing, taking us to the station where I've got to go pee in a cup for nothin'. I ain't done nothin'. All I did was came to the country and did a concert, and now I've got to go to the police station. For nothin'!" He announced to his Swedish fanbase that he would no longer go on tour in the country due to the incident.
Snoop Dogg has also been arrested and fined three times for misdemeanor possession of marijuana: in Los Angeles in 1998, Cleveland, Ohio in 2001, and Sierra Blanca, Texas in 2010.
In the Death Row Records bankruptcy case, Snoop Dogg lost $2 million.
In February 2022, a woman sued Snoop Dogg for $10 million, alleging that he sexually assaulted her in May 2013 following a concert in Anaheim, California. A source representing Snoop Dogg has denied the accusation. Snoop Dogg was also sued for sexual assault in 2005.
DiscographyStudio albumsDoggystyle (1993)
Tha Doggfather (1996)
Da Game Is to Be Sold, Not to Be Told (1998)
No Limit Top Dogg (1999)
Tha Last Meal (2000)
Paid tha Cost to Be da Boss (2002)
R&G (Rhythm & Gangsta): The Masterpiece (2004)
Tha Blue Carpet Treatment (2006)
Ego Trippin' (2008)
Malice n Wonderland (2009)
Doggumentary (2011)
Reincarnated (2013)
Bush (2015)
Coolaid (2016)
Neva Left (2017)
Bible of Love (2018)
I Wanna Thank Me (2019)
From tha Streets 2 tha Suites (2021)
BODR (2022)Collaboration albumsTha Eastsidaz with Tha Eastsidaz (2000)
Duces 'n Trayz: The Old Fashioned Way with Tha Eastsidaz (2001)
The Hard Way with 213 (2004)
Mac & Devin Go to High School with Wiz Khalifa (2011)
7 Days of Funk with 7 Days of Funk (2013)
Royal Fam with Tha Broadus Boyz (2013)
Cuzznz with Daz Dillinger (2016)
Filmography
{| class="wikitable"
|- style="background:#ccc; text-align:center;"
! colspan="4" style="background: LightSteelBlue;" | Television
|- style="background:#ccc; text-align:center;"
! Year
! Title
! Role
! Notes
|-
| 1993–1994
| The Word
| Himself
| 2 episodes
|-
| 1994
| Martin
| Himself
| Episode: "No Love Lost"
|-
| 1997
| The Steve Harvey Show
| Himself
| Episode: "I Do, I Don't"
|-
| 2001
| King of the Hill
| Alabaster Jones
| Episode: "Ho Yeah!"
|-
| 2001
| Just Shoot Me
| Himself
| Episode: "Finch in the Dogg House"
|-
| 2002–2003
| Doggy Fizzle Televizzle
| Himself
| 8 episodes
|-
| 2003
| Playmakers
| Big E
| Episode: "Tenth of a Second"
|-
| 2003
| Crank Yankers
| Himself
| Episode: "Snoop Dogg & Kevin Nealon"
|-
| 2004
| Chappelle's Show
| Puppet Dangle/Himself
| Episode 10
|-
| 2004
| Las Vegas
| Himself
| Episode: "Two of a Kind"
|-
| 2004
| The Bernie Mac Show
| Calvin
| Episode: "Big Brother"
|-
| 2004
| The L Word
| Slim Daddy
| Episodes: "Luck, Next Time" & "Liberally"
|-
| 2004
| 2004 Spike Video Game Awards
| Host/Himself
| TV special
|-
| 2006
| Weeds
| Himself
| Episode: "MILF Money"
|-
| 2007–2009
| Snoop Dogg's Father Hood
| Himself
| 2 seasons, 18 episodes
|-
| 2007
| Monk
| Russel “Murderuss“ Kray
| Episode: "Mr. Monk and the Rapper"
|-
| 2008, 2010, 2013
| One Life to Live
| Himself
| 3 episodesWrote and produced theme song
|-
| 2009
| Dogg After Dark
| Himself
| 1 season, 7 episodes
|-
| 2009; 2015
| WWE Raw
| Host/Himself
| TV special
|-
| 2010
| The Boondocks
| Macktastic
| Episode: "Bitches to Rags"
|-
| 2010
| Big Time Rush
| Himself
| Episode: "Big Time Christmas"
|-
| 2011
| 90210| Himself
| Episode: "Blue Naomi"
|-
| 2011
| The Cleveland Show| Himself
| Episode: "Back to Cool"
|-
| 2014
| Love & Hip Hop: Atlanta| Himself
| Guest appearance
|-
| 2014
| Love & Hip Hop: Hollywood| Himself
| Guest appearance
|-
| 2015
| Snoop & Son, a Dad's Dream| Himself
| 1 season, 5 episodes
|-
| 2015
| Sanjay and Craig| Street Dogg
| Episode: "Street Dogg"
|-
| 2015
| Show Me the Money 4| Himself
| Episode 4
|-
| 2016–2017
| Trailer Park Boys| Himself
| 5 episodes
|-
| 2016
| Lip Sync Battle| Himself
| Episode: "Snoop Dogg vs Chris Paul"
|-
| 2016–present
| Martha & Snoop's Potluck Dinner Party| Himself
| Co-host
|-
| 2017
| The Simpsons| Himself
| Episode: "The Great Phatsby"
|-
| 2017
| Growing Up Hip Hop: Atlanta| Himself
| Guest appearances
|-
| 2017
| The Joker's Wild| Himself
| Host
|-
| 2018
| Coach Snoop| Himself
| All 8 Episodes of Netflix documentary
|-
| 2018
| Sugar| Himself
| Episode: "Snoop Dogg surprises a young father who is working to turn his life around".
|-
| 2019
| Law & Order: Special Victims Unit| P.T. Banks
| Episode: "Diss"
|-
| 2019
| American Dad!| Tommie Tokes
| Episode: "Jeff and the Dank Ass Weed Factory"
|-
| 2020
| F Is for Family| Rev. Sugar Squires
| Voice; episode: "R is For Rosie"
|-
| 2020
| Utopia Falls| The Archive
| Series regular
|-
| 2020
| Mariah Carey's Magical Christmas Special| Himself
| Television special
|-
| 2021
| The Voice| Himself
| Knockout Mega Mentor
|-
| 2021
| Black Mafia Family| Pastor Swift
|
|-
| 2022
| Phat Tuesdays: The Era of Hip Hop Comedy| Himself
| Documentary series
|}
Awards and legacy
Broadus was also a judge for the 7th annual Independent Music Awards to support independent artists' careers. He received the BMI Icon Award in 2011. The Washington Post, Billboard, and NME have called him a "West Coast icon"; and Press-Telegram, "an icon of gangsta rap". In 2006, Vibe magazine called him "The King of the West Coast". The Guardians Rob Fitzpatrick has credited his album Doggystyle'' for proving that rappers "could reinvent themselves", expanding rap's vocabulary, changing hip-hop fashions, and helping introduce a hip-hop genre called G-funk to a new generation. The album has been cited as an influence by rapper Kendrick Lamar, while fellow rappers ScHoolboy Q and Maxo Kream have also cited him as an influence. ABC website's Paul Donoughue has credited him among the 1990s acts that took hip-hop into the pop music charts.
Snoop Dogg acquired Death Row Records in February 2022 from the Blackstone-controlled company MNRK Music Group.
Notes
References
Further reading
External links
Official social media links
Snoop Dogg on Instagram. Archived from the original
Snoop Dogg on Spotify
Dogg on YouTube
1971 births
20th-century African-American male singers
20th-century American businesspeople
20th-century American male actors
20th-century American rappers
20th-century American singers
21st-century African-American male singers
21st-century American businesspeople
21st-century American male actors
21st-century American rappers
21st-century American singers
213 (group) members
African-American Christians
African-American film producers
African-American game show hosts
African-American investors
African-American male actors
African-American male rappers
African-American male singer-songwriters
African-American record producers
African-American television directors
African-American television personalities
African-American television producers
American businesspeople convicted of crimes
American cannabis activists
American film producers
American former Muslims
American game show hosts
American hip hop record producers
American hip hop singers
American investors
American male film actors
American male rappers
American male singer-songwriters
American male television actors
American male voice actors
American media company founders
American music industry executives
American music video directors
American online publication editors
American people convicted of drug offenses
American reality television producers
American reggae musicians
American television directors
Businesspeople from Los Angeles
Businesspeople in the cannabis industry
Cannabis music
Converts to Christianity from Islam
Converts to the Rastafari movement
Crips
Death Row Records artists
Film producers from California
Former Nation of Islam members
Former Rastafarians
Gangsta rappers
G-funk artists
Living people
Male actors from California
Male actors from Los Angeles
Mount Westmore members
MTV Europe Music Award winners
Musicians from Long Beach, California
No Limit Records artists
Participants in American reality television series
People acquitted of murder
Priority Records artists
Rappers from Los Angeles
Record producers from California
Record producers from Los Angeles
Reggae fusion artists
Singers from Los Angeles
Singer-songwriters from California
Television producers from California
Twitch (service) streamers
West Coast hip hop musicians
WWE Hall of Fame inductees | false | [
"It Was a Wonderful Life is a 1993 documentary film about homeless women in the United States. It won the Gold Award at the WorldFest-Houston International Film Festival. It was also nominated for an award by the International Documentary Association and for Best Documentary at the Hawaii International Film Festival.\n\nThe film follows six homeless women who were once part of the middle class and explores what caused them to become homeless. It was narrated by Jodie Foster.\n\nThe film was produced by Michèle Ohayon and Tamar E. Glaser, a descendant of \"The Glaser-Kochavi family\", a prominent business family located in Israel and the United States.\n\nLou Hall, one of the homeless women in the film, took her own life on November 7, 1992.\n\nExternal links \n \n\n1993 films\nAmerican documentary films\nAmerican films\n1993 documentary films\nDocumentary films about homelessness in the United States\nDocumentary films about women\nFilms about women in the United States",
"Protected is a 1975 documentary film, narrated by Don Brady and Sydney-born producer Robert Hughes. The film was directed by Alessandro Cavadini. It was an exposé of the ill-treatment of Aboriginal workers by white men. The details of what life was like for Aboriginal Australians on Palm Island became more widely known when Alessandro Cavadini and Carolyn Strachan recreated the strike in 1957 by hundreds of the Island's residents even though there was huge resistance from local authorities.\n\nSome 22 years later in 2007, Aboriginal activist, and convicted Palm Island rioter Lex Wotton presented a screening of the film to the Film Fanatics Society at Petersham Bowling Club. He recalled watching the film as a schoolboy and seeing his father on film. He said that screening opened his eyes to the way \"things were different on Palm\". He also said \"There are numerous things that people haven't documented but this [film] was one thing that brought what was happening to the indigenous people to the attention of the wider community.\n\nReferences\n\nExternal links\n \n\nAustralia: Palm Island’s Dark History of Aboriginal Repression\n\n1975 films\nAustralian documentary films\nAustralian films\nEnglish-language films\nAustralian independent films\nDocumentary films about Aboriginal Australians\nIndigenous Australian mass media\n1975 documentary films\nDocumentary films about indigenous rights\nDocumentary films about the labor movement\n1975 independent films"
]
|
[
"Snoop Dogg",
"2012-13: Reincarnated and 7 Days of Funk",
"What happened in 2012-13?",
"On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album",
"What was the documentary about?",
"The film was released March 21, 2013 with the album slated for release"
]
| C_f4a48950757d43dab26bdc5d8444890b_1 | Did the film get good reviews? | 3 | Did Snoop Dogg's Reincarnated documentary get good reviews? | Snoop Dogg | Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told that year. His other albums from No Limit were No Limit Top Dogg in 1999 (selling over 1,503,865 copies) and Tha Last Meal in 2000 (selling over 2,000,000). In 1999, his autobiography, Tha Doggfather, was published. In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, with it selling over 1,300,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image. In 2004, Snoop signed to Geffen Records/Star Trak Entertainment both of which were distributed through Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,724,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released album The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor", along with fellow rappers Lil Jon, Xzibit, and David Banner, Snoop Dogg's appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including the single "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. Also, his latest song, "Real Talk", was leaked over the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was a dedication to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the Governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio. Snoop's 2006 album, Tha Blue Carpet Treatment, debuted on the Billboard 200 at No.5 and has sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers for his single "Candy (Drippin' Like Water)". In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone prior to its release as a single, which was "It's the D.O.G.". On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie Singh Is Kinng; the title of the song is also "Singh is Kinng". He also appears in the movie as himself. The album featuring the song was released on June 8, 2008 on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy). Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice. Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 11, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010 as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain. Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' latest album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko. On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013 with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album, "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times". On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafarian priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena. In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic--they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound. In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dam-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013. CANNOTANSWER | CANNOTANSWER | Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg (previously Snoop Doggy Dogg and briefly Snoop Lion), is an American rapper, songwriter, media personality, actor, and entrepreneur. His fame dates to 1992 when he featured on Dr. Dre's debut solo single, "Deep Cover", and then on Dre's debut solo album, The Chronic. Broadus has since sold over 23 million albums in the United States and 35 million albums worldwide.
Broadus' debut solo album, Doggystyle, produced by Dr. Dre, was released by Death Row Records in November 1993, and debuted at number one on the popular albums chart, the Billboard 200, and on Billboards Top R&B/Hip-Hop Albums chart. Selling 800,000 copies in its first week, Doggystyle was certified quadruple-platinum in 1994 and bore several hit singles, including "What's My Name?" and "Gin and Juice". In 1994, Death Row Records released a soundtrack, by Broadus, for the short film Murder Was the Case, starring Snoop. In 1996, his second album, Tha Doggfather, also debuted at number one on both charts, with "Snoop's Upside Ya Head" as the lead single. The next year, the album was certified double-platinum.
After leaving Death Row Records in January 1998, Broadus signed with No Limit Records, releasing three Snoop albums: Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). In 2002, he signed with Priority/Capitol/EMI Records, releasing Paid tha Cost to Be da Boss. In 2004, he signed to Geffen Records, releasing his next three albums: R&G (Rhythm & Gangsta): The Masterpiece, then Tha Blue Carpet Treatment, and Ego Trippin'. Priority Records released his album Malice 'n Wonderland during 2009, followed by Doggumentary during 2011. Snoop Dogg has starred in motion pictures and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. He also coaches a youth football league and high-school football team. In September 2009, EMI hired him as the chairman of a reactivated Priority Records.
In 2012, after a trip to Jamaica, Broadus announced a conversion to Rastafari and a new alias, Snoop Lion. As Snoop Lion he released a reggae album, Reincarnated, and a documentary film of the same name, about his Jamaican experience, in early 2013. His 13th studio album, Bush, was released in May 2015 and marked a return of the Snoop Dogg name. His 14th solo studio album, Coolaid, was released in July 2016. In March 2016, the night before WrestleMania 32 in Arlington, Texas, he was inducted into the celebrity wing of the WWE Hall of Fame, having made several appearances for the company, including as master of ceremonies during a match at WrestleMania XXIV. In 2018, Snoop announced that he was "a born-again Christian" and released his first gospel album Bible of Love. On November 19, 2018, Snoop Dogg was given a star on the Hollywood Walk of Fame. He released his seventeenth solo album, I Wanna Thank Me, in 2019. In 2022, Snoop Dogg acquired Death Row Records from MNRK Music Group (formerly known as eOne Music), and released his 20th studio album, BODR. Snoop has had 17 Grammy nominations without a win.
Early life
Calvin Cordozar Broadus Jr. was born on October 20, 1971, in Long Beach, California to Vernell Varnado and Beverly Tate. Vernell, who was a Vietnam War veteran, singer, and mail carrier, left the family only three months after his birth, and thus he was named after his stepfather, Calvin Cordozar Broadus Sr. (1948–1985). His father remained largely absent from his life. As a boy, his parents nicknamed him "Snoopy" due to his love and likeness of the cartoon character from Peanuts. He was the second of his mother's three sons. His mother and stepfather divorced in 1975. When Broadus was very young, he began singing and playing piano at the Golgotha Trinity Baptist Church. In sixth grade, he began rapping. As a child, Broadus sold candy, delivered newspapers, and bagged groceries to help his family make ends meet. He was described as having been a dedicated student and enthusiastic churchgoer, active in choir and football. Broadus said in 1993 that he began engaging in unlawful activities and joining gangs in his teenage years, despite his mother's preventative efforts.
Broadus would frequently rap in school. As he recalled: "When I rapped in the hallways at school I would draw such a big crowd that the principal would think there was a fight going on. It made me begin to realize that I had a gift. I could tell that my raps interested people and that made me interested in myself."
As a teenager, Broadus frequently ran into trouble with the law. He was a member of the Rollin' 20s Crips gang in the Eastside neighborhood of Long Beach; although in 1993 he denied the frequent police and media reports by saying that he never joined a gang. Shortly after graduating from high school at Long Beach Polytechnic High School in 1989, he was arrested for possession of cocaine, and for the next three years, was frequently incarcerated, including at Wayside Jail. With his two cousins, Nate Dogg and Lil' ½ Dead, and friend Warren G, Snoop recorded homemade tapes; the four called their group 213 after the area code of their native Long Beach at that time. One of Snoop's early solo freestyles over "Hold On" by En Vogue was on a mixtape that fortuitously wound up with Dr. Dre; the influential producer was so impressed by the sample that he called Snoop to audition. Former N.W.A affiliate The D.O.C. taught him to structure his lyrics and separate the themes into verses, hooks, and choruses.
Musical career
1992–1998: Death Row, Doggystyle, and Tha Doggfather
When he began recording, Broadus took the stage name Snoop Doggy Dogg. Dr. Dre began working with him, first on the theme song of the 1992 film Deep Cover and then on Dr. Dre's debut solo album The Chronic along with the other members of his former starting group, Tha Dogg Pound. This intense exposure played a considerable part in making Snoop Dogg's debut album, Doggystyle, the critical and commercial success that it was.
Fueling the ascendance of West Coast G-funk hip hop, the singles "Who Am I (What's My Name)?" and "Gin and Juice" reached the top ten most-played songs in the United States, and the album stayed on the Billboard charts for several months. Gangsta rap became the center of arguments about censorship and labeling, with Snoop Dogg often used as an example of violent and misogynistic musicians. Unlike much of the harder-edged gangsta rap artists, Snoop Dogg seemed to show his softer side, according to music journalist Chuck Philips. Rolling Stone music critic Touré asserted that Snoop had a relatively soft vocal delivery compared to other rappers: "Snoop's vocal style is part of what distinguishes him: where many rappers scream, figuratively and literally, he speaks softly." Doggystyle, much like The Chronic, featured a host of rappers signed to or affiliated with the Death Row label including Daz Dillinger, Kurupt, Nate Dogg, and others.
In 1993, Snoop Dogg was charged with first-degree murder for the shooting of Philip Woldermariam, a member of a rival gang who was actually killed by Snoop’s bodyguard, McKinley Lee, aka Malik. Broadus was acquitted on February 20, 1996. According to Broadus, after he was acquitted he did not want to continue living the "gangsta" lifestyle, because he felt that continuing his behavior would result in his assassination or a prison term. A short film about Snoop Dogg's murder trial, Murder Was the Case, was released in 1994, along with an accompanying soundtrack. On July 6, 1995, Doggy Style Records, Inc., a record label founded by Snoop Dogg, was registered with the California Secretary of State as business entity number C1923139.
After his acquittal, he, the mother of his son, and their kennel of 20 pit bulls moved into a home in the hills of Claremont, California and by August 1996 Doggy Style Records, a subsidiary of Death Row Records, signed the Gap Band Charlie Wilson as one of its first artists. He collaborated with fellow rap artist Tupac Shakur on the 1996 single "2 of Amerikaz Most Wanted". This was one of Shakur's last songs while alive; he was shot on September 7, 1996, in Las Vegas, dying six days later.
By the time Snoop Dogg's second album, Tha Doggfather, was released in November 1996, the price of appearing to live the gangsta life had become very evident. Among the many notable hip hop industry deaths and convictions were the death of Snoop Dogg's friend and labelmate Tupac Shakur and the racketeering indictment of Death Row co-founder Suge Knight. Dr. Dre had left Death Row earlier in 1996 because of a contract dispute, so Snoop Dogg co-produced Tha Doggfather with Daz Dillinger and DJ Pooh.
This album featured a distinct change of style from Doggystyle, and the leadoff single, "Snoop's Upside Ya Head", featured a collaboration with Charlie Wilson The album sold reasonably well but was not as successful as its predecessor. Tha Doggfather had a somewhat softer approach to the G-funk style. After Dr. Dre withdrew from Death Row Records, Snoop realized that he was subject to an ironclad time-based contract (i.e., that Death Row practically owned anything he produced for a number of years), and refused to produce any more tracks for Suge Knight other than the insulting "Fuck Death Row" until his contract expired. In an interview with Neil Strauss in 1998, Snoop Dogg said that though he had been given lavish gifts by his former label, they had withheld his royalty payments.
Stephen Thomas Erlewine of Allmusic said that after Tha Doggfather, Snoop Dogg began "moving away from his gangsta roots toward a calmer lyrical aesthetic": for instance, Snoop participated in the 1997 Lollapalooza concert tour, which featured mainly alternative rock music. Troy J. Augusto of Variety noticed that Snoop's set at Lollapalooza attracted "much dancing, and, strangely, even a small mosh pit" in the audience.
1998–2006: Signing with No Limit and continued success
Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in March 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told later that year. He said at the time that "Snoop Dogg is universal so he can fit into any camp-especially a camp that knows how to handmake shit[;] [a]nd, No Limit hand makes material. They make material fittin' to the artist and they know what type of shit Snoop Dogg is supposed to be on. That's why it's so tight." [sic] His other albums on No Limit were No Limit Top Dogg in 1999 (selling over 1,510,000 copies) and Tha Last Meal in 2000 (selling over 2,100,000). In 1999, his autobiography, Tha Doggfather, was published.
In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, selling over 1,310,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image.
In June 2004, Snoop signed to Geffen Records/Star Trak Entertainment, both distributed by Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,730,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included the single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor" along with fellow rappers Lil Jon, Xzibit, and David Banner,
Snoop Dogg appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. His song "Real Talk" was leaked on the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was dedicated to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio.
Snoop's 2006 album Tha Blue Carpet Treatment debuted on the Billboard 200 at No.5 and sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers on the single "Candy (Drippin' Like Water)".
2007–2012: Ego Trippin', Malice n Wonderland and Doggumentary
In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone before its release as a single, "It's the D.O.G." On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie, Singh Is Kinng; the song title is also "Singh is Kinng". He appears in the movie as himself. The album featuring the song was released on June 8, 2008, on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy).
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice.
Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 7, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010, as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain.
Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko.
2012–2013: Reincarnated and 7 Days of Funk
On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013, with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album: "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times".
On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafari priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena.
In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic—they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound.
In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dâm-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013.
2014–2017: Bush, Coolaid, and Neva Left
In August 2014, a clip surfaced online featuring a sneak preview of a song Snoop had recorded for Pharrell. Snoop's Pharrell Williams-produced album Bush was released on May 12, 2015, with the first single "Peaches N Cream" having been released on March 10, 2015.
On June 13, 2016, Snoop Dogg announced the release date for his album Coolaid, which was released on July 1, 2016. He headlined a "unity party" for donors at Philly's Electric Factory on July 28, 2016, the last day of the Democratic National Convention. Released March 1, 2017, through his own Doggy Style Records, "Promise You This" precedes the release of his upcoming Coolaid film based on the album of the same name. Snoop Dogg released his fifteenth studio album Neva Left in May 2017.
2018–2021: Bible of Love, I Wanna Thank Me, and From tha Streets 2 tha Suites
He released a gospel album titled Bible of Love on March 16, 2018. Snoop was featured on Gorillaz' latest album The Now Now on a track called: "Hollywood" with Jamie Principle. In November 2018, Snoop Dogg announced plans for his Puff Puff Pass tour, which features Bone Thugs-n-Harmony, Too $hort, Warren G, Kurupt, and others. The tour ran from November 24 to January 5.
Snoop Dogg was featured on Lil Dicky's April 2019 single "Earth", where he played the role of a marijuana plant in both the song's lyrics and animated video. Snoop Dogg was among hundreds of artists whose material was destroyed in the 2008 Universal fire. On July 3, 2019, Snoop Dogg released the title track from his upcoming 17th studio album, I Wanna Thank Me. The album was released on August 16, 2019. Snoop Dogg collaborated with Vietnamese singer Son Tung M-TP in "Hãy trao cho anh" ("Give it to Me"), which was officially released on July 1, 2019. As of October 3, 2019, the music video has amassed over 158 million views on YouTube.
Early in 2020, it was announced that Snoop had rescheduled his tour in support of his I Wanna Thank You album and documentary of the same name. The tour has been rescheduled to commence in February 2021. In May 2020, Snoop released the song "Que Maldicion", a collaboration with Banda Sinaloense de Sergio Lizarraga, peaking at number one on the Billboard Bubbling Under Hot 100.
On April 20, 2021, Snoop Dogg released his eighteenth studio album From tha Streets 2 tha Suites. It was announced on April 7, 2021, via Instagram. The album received generally positive reviews from critics.
During an interview on the September 27 airing of The Tonight Show Starring Jimmy Fallon, Snoop Dogg announced Algorithm. The album was released on November 19, 2021.
2022-present: Super Bowl Halftime Show performance and BODR
Snoop Dogg performed at the Super Bowl LVI Halftime Show alongside Dr. Dre, Eminem, Mary J. Blige, and Kendrick Lamar.
In January 2022, Snoop Dogg announced that he would release his 19th studio album, BODR, on the same day as his Super Bowl Halftime Show performance. However, the album's release was pushed forward two days and was released on February 11, 2022.
On , Snoop Dogg announced that he is officially in charge at Death Row Records.
Other ventures
Broadus has appeared in numerous films and television episodes throughout his career. His starring roles in film includes The Wash (with Dr. Dre) and the horror film Bones. He also co-starred with rapper Wiz Khalifa in the 2012 movie Mac and Devin Go to High School which a sequel has been announced. He has had various supporting and cameo roles in film, including Half Baked, Training Day, Starsky & Hutch, and Brüno.
He has starred in three television programs: sketch-comedy show Doggy Fizzle Televizzle, variety show Dogg After Dark, and reality show Snoop Dogg's Father Hood (also starring Snoop's wife and children). He has starred in episodes of King of the Hill, Las Vegas, and Monk, one episode of Robot Chicken, as well as three episodes of One Life to Live. He has participated in three Comedy Central Roasts, for Flavor Flav, Donald Trump, and Justin Bieber. Cameo television appearances include episodes of The L Word, Weeds, Entourage, I Get That a Lot, Monk, and The Price Is Right. He has also appeared in an episode of the YouTube video series, Epic Rap Battles of History as Moses.
In 2000, Broadus (as "Michael J. Corleone") directed Snoop Dogg's Doggystyle, a pornographic film produced by Hustler. The film, combining hip hop with x-rated material, was a huge success and won "Top Selling Release of the Year" at the 2002 AVN Awards. Snoop then directed Snoop Dogg's Hustlaz: Diary of a Pimp in 2002 (using the nickname "Snoop Scorsese").
Broadus founded his own production company, Snoopadelic Films, in 2005. Their debut film was Boss'n Up, a film inspired by Snoop Dogg's album R&G, starring Lil Jon and Trina.
On March 30, 2008, he appeared at WrestleMania XXIV as a Master of Ceremonies for a tag team match between Maria and Ashley Massaro as they took on Beth Phoenix and Melina. At WrestleMania 32, he accompanied his cousin Sasha Banks to the ring for her match, rapping over her theme music. He was also inducted into the WWE Hall of Fame in 2016.
In December 2013, Broadus performed at the annual Kennedy Center Honors concert, honoring jazz pianist Herbie Hancock. After his performance, Snoop credited Hancock with "inventing hip-hop".
On several occasions, Broadus has appeared at the Players Ball in support of Bishop Don Magic Juan. Juan appeared on Snoop's videos for "Boss Playa", "A.D.I.D.A.C.", "P.I.M.P. (Remix)", "Nuthin' Without Me" and "A Pimp's Christmas Song".
In January 2016, a Change.org petition was created in the hopes of having Broadus narrate the entire Planet Earth series. The petition comes after Snoop narrated a number of nature clips on Jimmy Kimmel Live!
In April 2016, Broadus performed "Straight outta Compton" and "Fuck tha Police" at Coachella, during a reunion of N.W.A. members Dr. Dre, Ice Cube and MC Ren.
He hosted a Basketball fundraiser "Hoops 4 Water" for Flint, Michigan. The event occurred on May 21, 2016, and was run by former Toronto Raptors star and Flint native Morris Peterson.
In the fall of 2016, VH1 premiered a new show featuring Broadus and his friend Martha Stewart at called Martha & Snoop's Potluck Dinner Party, featuring games, recipes, and musical guests. Broadus and Stewart also later starred together in a Super Bowl commercial for T-Mobile during Super Bowl LI in February 2017.
Broadus hosts a revival of The Joker's Wild, which spent its first two seasons on TBS before moving to TNT in January 2019. He is in the film, Sponge on the Run.
Broadus has also created a fried chicken recipe, with barbecue flavor potato chips as an added ingredient in the batter.
In early 2020, Broadus launched his debut wine release, under the name "Snoop Cali Red", in a partnership with the Australian wine brand, 19 Crimes. The red wine blend features Snoop's face on the label.
Broadus provided commentary for Mike Tyson vs. Roy Jones Jr., who some pundits described as having "won" the night through his colorful commentary and reactions. At one point, Snoop described Tyson and Jones as "like two of my uncles fighting at the barbecue"; he also began singing a hymn, Take My Hand, Precious Lord, during the undercard fight between Jake Paul and Nate Robinson, after Robinson was knocked down.
Broadus made a special guest appearance in All Elite Wrestling on the January 6, 2021, episode of AEW Dynamite, titled New Year's Smash. During this appearance, Snoop appeared in the corner of Cody Rhodes during Rhodes' match with Matt Sydal. He later gave Serpentico a Frog Splash, with Rhodes then delivering a three-count.
In June 2021, Snoop Dogg officially joined Def Jam Recordings as its new Executive Creative and Strategic Consultant, a role allowing him to strategically work across the label’s executive team and artist roster. His immediate focus was A&R and creative development, reporting to Universal Music Group Chairman & CEO Sir Lucian Grainge as well as Def Jam interim Chairman and CEO Jeffrey Harleston. On November 12, 2021, Snoop Dogg announced the signing of Benny the Butcher on Joe Rogan's podcast.
In February 2022, it was announced that Snoop Dogg had fully acquired Death Row Records from its previous owners, The MNRK Music Group (formerly eOne Music). The label was also revived when Snoop Dogg released his 20th album BODR.
Style and rap skills
Kool Moe Dee ranks Broadus at No. 33 in his book There's a God on the Mic, and says he has "an ultra-smooth, laidback delivery" and "flavor-filled melodic rhyming".
Peter Shapiro describes Broadus’ delivery as a "molasses drawl" and AllMusic notes his "drawled, laconic rhyming" style. Kool Moe Dee refers to Snoop's use of vocabulary, saying he "keeps it real simple...he simplifies it and he's effective in his simplicity".
Broadus is known to freestyle some of his lyrics on the spot – in the book How to Rap, Lady of Rage says, "When I worked with him earlier in his career, that's how created his stuff... he would freestyle, he wasn't a writer then, he was a freestyler", and The D.O.C. states, "Snoop's [rap] was a one take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busting. The song was "Tha Shiznit"—that was all freestyle. He started busting and when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then."
Peter Shapiro says that Broadus debuted on "Deep Cover" with a "shockingly original flow – which sounded like a Slick Rick born in South Carolina instead of South London" and adds that he "showed where his style came from by covering Slick Rick's 'La Di Da Di'". Referring to Snoop's flow, Kool Moe Dee calls him "one of the smoothest, funkiest flow-ers in the game". How to Rap also notes that Snoop is known to use syncopation in his flow to give it a laidback quality, as well as 'linking with rhythm' in his compound rhymes, using alliteration, and employing a "sparse" flow with good use of pauses.
Broadus popularized the use of -izzle speak particularly in the pop and hip-hop music industry. A type of infix, it first found popularity when used by Frankie Smith in his 1981 hit song Double Dutch Bus.
Broadus listed his favourite rap albums for Hip Hop Connection:
10. Mixmaster Spade, The Genius Is Back
9. Lauryn Hill, The Miseducation of Lauryn Hill
8. Ice Cube, Death Certificate
7. 2Pac, Me Against the World
6. The Notorious B.I.G., Ready to Die
5. N.W.A, Straight Outta Compton
4. Eric B. & Rakim, Paid in Full
3. Slick Rick, The Great Adventures of Slick Rick
2. Snoop Doggy Dogg, Doggystyle
1. Dr. Dre, The Chronic ("It's da illest shit")
Personal life
Snoop married his high school girlfriend, Shante Taylor, on June 12, 1997. On May 21, 2004, he filed for divorce from Taylor, citing irreconcilable differences. The couple however remarried on January 12, 2008. They have three children together: sons Cordé (born August 21, 1994) and Cordell (born February 21, 1997), who quit football to pursue a career as a film maker, and daughter Cori (born June 22, 1999). Snoop also has a son from a relationship with Laurie Holmond, Julian Corrie Broadus (born 1998). He is a first cousin of R&B singers Brandy and Ray J, and WWE professional wrestler Sasha Banks. In 2015 Snoop became a grandfather, as his eldest son, Cordé Broadus, had a son with his girlfriend, Jessica Kyzer. Cordé had another son, Kai, who died on September 25, 2019, ten days after birth.
Since the start of his career, Snoop has been an avowed cannabis smoker, making it one of the trademarks of his image. In 2002, he announced he was giving up cannabis for good; that did not last long (a situation famously referenced in the 2004 Adam Sandler movie 50 First Dates) and in 2013, he claimed to be smoking approximately 80 cannabis blunts a day. He has been certified for medical cannabis in California to treat migraines since at least 2007.
Snoop claimed in a 2006 interview with Rolling Stone magazine that unlike other hip hop artists who had superficially adopted the pimp persona, he was an actual professional pimp in 2003 and 2004, saying, "That shit was my natural calling and once I got involved with it, it became fun. It was like shootin' layups for me. I was makin' 'em every time."
On October 24, 2021, Snoop's mother, Beverly Tate, died.
Sports
Snoop is an avid sports fan, including hometown teams Los Angeles Dodgers, Los Angeles Lakers, and USC Trojans, as well as the Pittsburgh Steelers. He has stated that he began following the Steelers in the 1970s while watching the team with his grandfather. He is also a fan of the Las Vegas Raiders, Los Angeles Rams, and Dallas Cowboys, often wearing a No. 5 jersey, and has been seen at Raiders training camps. He has shown affection for the New England Patriots, having been seen performing at Gillette Stadium. He is an avid ice hockey fan, sporting jerseys from the NHL's Los Angeles Kings, Pittsburgh Penguins, Toronto Maple Leafs and the Boston Bruins as well at the AHL's Springfield Indians in his 1994 music video "Gin and Juice". Snoop has been seen attending Los Angeles Kings games. On his reality show Snoop Dogg's Father Hood, Snoop and his family received hockey lessons from the Anaheim Ducks, then returned to the Honda Center to cheer on the Ducks against the Vancouver Canucks in the episode "Snow in da Hood". Snoop appeared in the video game NHL 20 as both a guest commentator and a playable character in the "World of Chel" game mode.
Snoop is a certified football coach and has been head coach of his son Cordell's youth football teams. Cordell played wide receiver and defensive back at Bishop Gorman High School in Las Vegas, Nevada, Cordell played on the 2014 state championship team, and received football scholarship offers from Southern California, UCLA, Washington, Cal, Oregon State, Duke, and Notre Dame. Cordell committed and signed a letter of intent to play for UCLA on February 4, 2015. On August 14, 2015, UCLA announced that Cordell had left the UCLA football team "to pursue other passions in his life".
Since 2005, Snoop Dogg has been operating a youth football league in the Los Angeles area. He is a coach in the league, and one of the seasons he coached was documented in the Netflix documentary Coach Snoop.
Religion
In 2009, it was reported that Snoop was a member of the Nation of Islam. On March 1, he made an appearance at the Nation of Islam's annual Saviours' Day holiday, where he praised minister Louis Farrakhan. Snoop said he was a member of the Nation, but declined to give the date on which he joined. He also donated $1,000 to the organization.
Claiming to be "born again" in 2012, Snoop converted to the Rastafari movement, switched the focus of his music to reggae and changed his name to Snoop Lion after a trip to Jamaica. He released a reggae album, Reincarnated, saying, "I have always said I was Bob Marley reincarnated".
In January 2013, he received criticism from members of the Rastafari community in Jamaica, including reggae artist Bunny Wailer, for alleged failure to meet his commitments to the culture. Snoop later dismissed the claims, stating his beliefs were personal and not up for outside judgment.
After releasing Bible of Love in early 2018 and performing in the 33rd Annual Stellar Gospel Music Awards, Snoop Dogg told a TV One interviewer while speaking of his Gospel influences that he "always referred to [his] savior Jesus Christ" on most of his records, and that he had become "a born-again Christian".
Charity
In 2005, Snoop Dogg founded the Snoop Youth Football League for at-risk youth in Southern California. In 2018, it was claimed to be the largest youth football organization in Southern California, with 50 teams and more than 1,500 players.
Snoop Dogg partners with city officials and annually gives away turkeys to the less fortunate in Inglewood, California at Thanksgiving. He gave away 3000 turkeys in 2016.
Politics
In 2012, Snoop Dogg endorsed Representative Ron Paul in the Republican presidential primary, but later said he would vote for Barack Obama in the general election, and on Instagram gave ten reasons to vote for Obama (including "He a black nigga", "He's BFFs with Jay-Z", and "Michelle got a fat ass"), and ten reasons not to vote for Mitt Romney (including "He a white nigga", "That muthafucka's name is Mitt", and "He a ho").
In a 2013 interview with The Huffington Post, Snoop Dogg advocated for same-sex marriage, saying, “People can do what they want and as they please."
In his keynote address at the 2015 South by Southwest music festival, he blamed Los Angeles's explosion of gang violence in the 1980s on the economic policies of Ronald Reagan, and insinuated that his administration shipped guns and drugs into the area.
He endorsed presidential candidate Hillary Clinton on Bravo's Watch What Happens Live in May 2015, saying, "I would love to see a woman in office because I feel like we're at that stage in life to where we need a perspective other than the male's train of thought" and "[...] just to have a woman speaking from a global perspective as far as representing America, I'd love to see that. So I'll be voting for Mrs. Clinton."
Following the deadly shooting of five police officers in Dallas on July 7, 2016, Snoop Dogg and The Game organized and led a peaceful march to the Los Angeles Police Department headquarters. The subsequent private meeting with the mayor Eric Garcetti and police chief Charlie Beck, and news conference was, according to Broadus, "[...] to get some dialogue and the communication going [...]". The march and conference were part of an initiative called "Operation ", serving as a police brutality protest in response to the police shooting and killing of two black men, Philando Castile and Alton Sterling, whose killing prompted nationwide protests including those that led to the Dallas killing of police officers. Broadus stated that "We are tired of what is going on and it's communication that is lacking". Reports of attendance range between 50–100 people.
Snoop Dogg advocates for the defunding of police departments, saying "We need to start taking that money out of their pocket and put it back into our communities where we can police ourselves." In 2020, he endorsed former Vice President Joe Biden for President of the United States.
Animal rights
Snoop Dogg regularly appears in real fur garments, especially large coats, for which he attracts criticism from animal welfare charities and younger audiences. In a video podcast in 2012, the rapper asked "Why doesn't PETA throw paint on a pimp's fur coat". In 2014, Snoop Dogg claimed to have become a vegan. In June 2018, he performed at the Environmental Media Association (EMA) Honors Gala. While he was performing, the logo for Beyond Meat was displayed on the screens behind him. In 2020, Snoop Dogg invested in vegan food company Original Foods, which makes Pigless Pork Rinds, which he has said are a favorite. He is an ambassador for vegan brand Beyond Meat.
Business ventures and investments
Broadus has been an active entrepreneur and investor. In 2009, he was appointed creative chairman of Priority Records.
In May 2013, Broadus and his brand manager Nick Adler released an app, Snoopify, that lets users plaster stickers of Snoop's face, joints or a walrus hat on photos. Adler built the app in May after discovering stickers in Japan. As of 2015, the app was generating $30,000 in weekly sales.
In October 2014, Reddit raised $50 million in a funding round led by Sam Altman and including investors Marc Andreessen, Peter Thiel, Ron Conway, Snoop Dogg and Jared Leto.
In April 2015, Broadus became a minority investor in his first investment venture Eaze, a California-based weed delivery startup that promises to deliver medical marijuana to persons' doorsteps in less than 10 minutes.
In October 2015, Broadus launched his new digital media business, Merry Jane, that focuses on news about marijuana. "Merry Jane is cannabis 2.0", he said in a promotional video for the media source. "A crossroads of pot culture, business, politics, health."
In November 2015, Broadus announced his new brand of cannabis products, Leafs By Snoop. The line of branded products includes marijuana flowers, concentrates and edibles. "Leafs By Snoop is truly the first mainstream cannabis brand in the world and proud to be a pioneer", Snoop Dogg said. In such a way, Broadus became the first major celebrity to brand and market a line of legal marijuana products.
On March 30, 2016, Broadus was reported to be considering purchasing the famed soul food restaurant chain Roscoe's House of Chicken and Waffles out of bankruptcy.
In 2019, Snoop Dogg ventured into the video game business, creating his own esports league known as the "Gangsta Gaming League".
World records
Largest paradise cocktail
At the BottleRock Napa Valley music festival on May 26, 2018, Snoop Dogg, Warren G, Kendall Coleman, Kim Kaechele and Michael Voltaggio set the Guinness World Record for the largest paradise cocktail. Measuring , the "Gin and Juice" drink was mixed from 180 bottles of gin, 156 bottles of apricot brandy and 28 jugs of orange juice.
Reported volume and content
Time reported its total volume as "...more than 132 gallons [], according to Guinness...", following with an embedded tweet by Liam Mayclem via GWR (the Guinness World Records' official Twitter account), showing a reply from GWR to its own tweet stating "[t]he cocktail contained 180 bottles of Hendricks gin, 154 bottles of apricot brandy and 38 3.78 litre jugs of orange juice..."
Mixmag, NME and USA Today published the same content quantities as GWR's tweet. with Mixmag reporting that "[a]ccording to Guinness the cocktail measured at 132 gallons." NME states that the total volume was "...more than 132 gallons" and USA Todays European website states that "[a] Guinness World Records official was on hand to certify the record of the 550 liter cocktail."
Billboard published that "...the concoction required 180 handles of Hendricks gin, resulting in a gigantic beverage...".
Legal incidents
Shortly after graduating from high school in 1989, Broadus was arrested for possession of cocaine and for the following three years was frequently in and out of prison. In 1990, he was convicted of felony possession of drugs and possession for sale.
While recording Doggystyle in August 1993, Snoop Dogg was arrested in connection with the death of a member of a rival gang who was allegedly shot and killed by Snoop Dogg's bodyguard; Snoop Dogg had been temporarily living in an apartment complex in the Palms neighborhood in the West Los Angeles region, in the intersection of Vinton Avenue and Woodbine Street - the location of the shooting. Both men were charged with murder, as Snoop Dogg was purportedly driving the vehicle from which the gun was fired. Johnnie Cochran defended them. Both Snoop Dogg and his bodyguard were acquitted on February 20, 1996.
In July 1993, Snoop Dogg was stopped for a traffic violation and a firearm was found by police during a search of his car. In February 1997, he pleaded guilty to possession of a handgun and was ordered to record three public service announcements, pay a $1,000 fine, and serve three years' probation.
In September 2006, Snoop Dogg was detained at John Wayne Airport in Orange County, California by airport security, after airport screeners found a collapsible police baton in Snoop's carry-on bag. Donald Etra, Snoop's lawyer, told deputies the baton was a prop for a musical sketch. Snoop was sentenced to three years' probation and 160 hours of community service for the incident starting in September 2007. Snoop Dogg was arrested again in October 2006 at Bob Hope Airport in Burbank after being stopped for a traffic infraction; he was arrested for possession of a firearm and for suspicion of transporting an unspecified amount of marijuana, according to a police statement. The following month, after taping an appearance on The Tonight Show with Jay Leno, he was arrested again for possession of marijuana, cocaine and a firearm. Two members of Snoop's entourage, according to the Burbank police statement, were admitted members of the Rollin 20's Crips gang, and were arrested on separate charges. In April 2007, he was given a three-year suspended sentence, five years' probation, and 800 hours of community service after pleading no contest to two felony charges of drug and gun possession by a convicted felon. He was also prohibited from hiring anyone with a criminal record or gang affiliation as a security guard or a driver.
On April 26, 2006, Snoop Dogg and members of his entourage were arrested after being turned away from British Airways' first class lounge at Heathrow Airport in London, England. Snoop and his party were denied entry to the lounge due to some members flying in economy class. After being escorted outside, the group got in a fight with the police and vandalized a duty-free shop. Seven police officers were injured during the incident. After a night in jail, Snoop and the other men were released on bail the next day, but he was unable to perform a scheduled concert in Johannesburg. On May 15, the Home Office decided that Snoop Dogg would be denied entry to the United Kingdom for the foreseeable future, and his British visa was denied the following year. As of March 2010, Snoop Dogg was allowed back into the UK. The entire group was banned from British Airways "for the foreseeable future”.
In April 2007, the Australian Department of Immigration and Citizenship banned him from entering the country on character grounds, citing his prior criminal convictions. He had been scheduled to appear at the MTV Australia Video Music Awards on April 29, 2007. The Australian Department of Immigration and Citizenship lifted the ban in September 2008 and had granted him a visa to tour Australia. The DIAC said: "In making this decision, the department weighed his criminal convictions against his previous behaviour while in Australia, recent conduct – including charity work – and any likely risk to the Australian community ... We took into account all relevant factors and, on balance, the department decided to grant the visa."
Snoop was banned from entering Norway for two years in July 2012 after entering the country the month before in possession of 8 grams (0.3 oz) of marijuana and an undeclared 227,000 kr in cash, or about as of August 2018.
Snoop Dogg, after performing for a concert in Uppsala, Sweden on July 25, 2015, was pulled over and detained by Swedish police for allegedly using illegal drugs, violating a Swedish law enacted in 1988, which criminalized the recreational use of such substances – therefore making even being under the influence of any illegal/controlled substance a crime itself without possession. During the detention, he was taken to the police station to perform a drug test and was released shortly afterwards. The rapid test was positive for traces of narcotics, and he was potentially subject to fines depending on the results of more detailed analysis. Although final results "strongly" indicated drug use, the charges were ultimately dropped because it could not be proven that he was in Sweden when he consumed the substances. The rapper uploaded several videos on the social networking site Instagram, criticizing the police for alleged racial profiling; police spokesman Daniel Nilsson responded to the accusations, saying, "we don't work like that in Sweden." He declared in the videos, "Niggas got me in the back of police car right now in Sweden, cuz,” and "Pulled a nigga over for nothing, taking us to the station where I've got to go pee in a cup for nothin'. I ain't done nothin'. All I did was came to the country and did a concert, and now I've got to go to the police station. For nothin'!" He announced to his Swedish fanbase that he would no longer go on tour in the country due to the incident.
Snoop Dogg has also been arrested and fined three times for misdemeanor possession of marijuana: in Los Angeles in 1998, Cleveland, Ohio in 2001, and Sierra Blanca, Texas in 2010.
In the Death Row Records bankruptcy case, Snoop Dogg lost $2 million.
In February 2022, a woman sued Snoop Dogg for $10 million, alleging that he sexually assaulted her in May 2013 following a concert in Anaheim, California. A source representing Snoop Dogg has denied the accusation. Snoop Dogg was also sued for sexual assault in 2005.
DiscographyStudio albumsDoggystyle (1993)
Tha Doggfather (1996)
Da Game Is to Be Sold, Not to Be Told (1998)
No Limit Top Dogg (1999)
Tha Last Meal (2000)
Paid tha Cost to Be da Boss (2002)
R&G (Rhythm & Gangsta): The Masterpiece (2004)
Tha Blue Carpet Treatment (2006)
Ego Trippin' (2008)
Malice n Wonderland (2009)
Doggumentary (2011)
Reincarnated (2013)
Bush (2015)
Coolaid (2016)
Neva Left (2017)
Bible of Love (2018)
I Wanna Thank Me (2019)
From tha Streets 2 tha Suites (2021)
BODR (2022)Collaboration albumsTha Eastsidaz with Tha Eastsidaz (2000)
Duces 'n Trayz: The Old Fashioned Way with Tha Eastsidaz (2001)
The Hard Way with 213 (2004)
Mac & Devin Go to High School with Wiz Khalifa (2011)
7 Days of Funk with 7 Days of Funk (2013)
Royal Fam with Tha Broadus Boyz (2013)
Cuzznz with Daz Dillinger (2016)
Filmography
{| class="wikitable"
|- style="background:#ccc; text-align:center;"
! colspan="4" style="background: LightSteelBlue;" | Television
|- style="background:#ccc; text-align:center;"
! Year
! Title
! Role
! Notes
|-
| 1993–1994
| The Word
| Himself
| 2 episodes
|-
| 1994
| Martin
| Himself
| Episode: "No Love Lost"
|-
| 1997
| The Steve Harvey Show
| Himself
| Episode: "I Do, I Don't"
|-
| 2001
| King of the Hill
| Alabaster Jones
| Episode: "Ho Yeah!"
|-
| 2001
| Just Shoot Me
| Himself
| Episode: "Finch in the Dogg House"
|-
| 2002–2003
| Doggy Fizzle Televizzle
| Himself
| 8 episodes
|-
| 2003
| Playmakers
| Big E
| Episode: "Tenth of a Second"
|-
| 2003
| Crank Yankers
| Himself
| Episode: "Snoop Dogg & Kevin Nealon"
|-
| 2004
| Chappelle's Show
| Puppet Dangle/Himself
| Episode 10
|-
| 2004
| Las Vegas
| Himself
| Episode: "Two of a Kind"
|-
| 2004
| The Bernie Mac Show
| Calvin
| Episode: "Big Brother"
|-
| 2004
| The L Word
| Slim Daddy
| Episodes: "Luck, Next Time" & "Liberally"
|-
| 2004
| 2004 Spike Video Game Awards
| Host/Himself
| TV special
|-
| 2006
| Weeds
| Himself
| Episode: "MILF Money"
|-
| 2007–2009
| Snoop Dogg's Father Hood
| Himself
| 2 seasons, 18 episodes
|-
| 2007
| Monk
| Russel “Murderuss“ Kray
| Episode: "Mr. Monk and the Rapper"
|-
| 2008, 2010, 2013
| One Life to Live
| Himself
| 3 episodesWrote and produced theme song
|-
| 2009
| Dogg After Dark
| Himself
| 1 season, 7 episodes
|-
| 2009; 2015
| WWE Raw
| Host/Himself
| TV special
|-
| 2010
| The Boondocks
| Macktastic
| Episode: "Bitches to Rags"
|-
| 2010
| Big Time Rush
| Himself
| Episode: "Big Time Christmas"
|-
| 2011
| 90210| Himself
| Episode: "Blue Naomi"
|-
| 2011
| The Cleveland Show| Himself
| Episode: "Back to Cool"
|-
| 2014
| Love & Hip Hop: Atlanta| Himself
| Guest appearance
|-
| 2014
| Love & Hip Hop: Hollywood| Himself
| Guest appearance
|-
| 2015
| Snoop & Son, a Dad's Dream| Himself
| 1 season, 5 episodes
|-
| 2015
| Sanjay and Craig| Street Dogg
| Episode: "Street Dogg"
|-
| 2015
| Show Me the Money 4| Himself
| Episode 4
|-
| 2016–2017
| Trailer Park Boys| Himself
| 5 episodes
|-
| 2016
| Lip Sync Battle| Himself
| Episode: "Snoop Dogg vs Chris Paul"
|-
| 2016–present
| Martha & Snoop's Potluck Dinner Party| Himself
| Co-host
|-
| 2017
| The Simpsons| Himself
| Episode: "The Great Phatsby"
|-
| 2017
| Growing Up Hip Hop: Atlanta| Himself
| Guest appearances
|-
| 2017
| The Joker's Wild| Himself
| Host
|-
| 2018
| Coach Snoop| Himself
| All 8 Episodes of Netflix documentary
|-
| 2018
| Sugar| Himself
| Episode: "Snoop Dogg surprises a young father who is working to turn his life around".
|-
| 2019
| Law & Order: Special Victims Unit| P.T. Banks
| Episode: "Diss"
|-
| 2019
| American Dad!| Tommie Tokes
| Episode: "Jeff and the Dank Ass Weed Factory"
|-
| 2020
| F Is for Family| Rev. Sugar Squires
| Voice; episode: "R is For Rosie"
|-
| 2020
| Utopia Falls| The Archive
| Series regular
|-
| 2020
| Mariah Carey's Magical Christmas Special| Himself
| Television special
|-
| 2021
| The Voice| Himself
| Knockout Mega Mentor
|-
| 2021
| Black Mafia Family| Pastor Swift
|
|-
| 2022
| Phat Tuesdays: The Era of Hip Hop Comedy| Himself
| Documentary series
|}
Awards and legacy
Broadus was also a judge for the 7th annual Independent Music Awards to support independent artists' careers. He received the BMI Icon Award in 2011. The Washington Post, Billboard, and NME have called him a "West Coast icon"; and Press-Telegram, "an icon of gangsta rap". In 2006, Vibe magazine called him "The King of the West Coast". The Guardians Rob Fitzpatrick has credited his album Doggystyle'' for proving that rappers "could reinvent themselves", expanding rap's vocabulary, changing hip-hop fashions, and helping introduce a hip-hop genre called G-funk to a new generation. The album has been cited as an influence by rapper Kendrick Lamar, while fellow rappers ScHoolboy Q and Maxo Kream have also cited him as an influence. ABC website's Paul Donoughue has credited him among the 1990s acts that took hip-hop into the pop music charts.
Snoop Dogg acquired Death Row Records in February 2022 from the Blackstone-controlled company MNRK Music Group.
Notes
References
Further reading
External links
Official social media links
Snoop Dogg on Instagram. Archived from the original
Snoop Dogg on Spotify
Dogg on YouTube
1971 births
20th-century African-American male singers
20th-century American businesspeople
20th-century American male actors
20th-century American rappers
20th-century American singers
21st-century African-American male singers
21st-century American businesspeople
21st-century American male actors
21st-century American rappers
21st-century American singers
213 (group) members
African-American Christians
African-American film producers
African-American game show hosts
African-American investors
African-American male actors
African-American male rappers
African-American male singer-songwriters
African-American record producers
African-American television directors
African-American television personalities
African-American television producers
American businesspeople convicted of crimes
American cannabis activists
American film producers
American former Muslims
American game show hosts
American hip hop record producers
American hip hop singers
American investors
American male film actors
American male rappers
American male singer-songwriters
American male television actors
American male voice actors
American media company founders
American music industry executives
American music video directors
American online publication editors
American people convicted of drug offenses
American reality television producers
American reggae musicians
American television directors
Businesspeople from Los Angeles
Businesspeople in the cannabis industry
Cannabis music
Converts to Christianity from Islam
Converts to the Rastafari movement
Crips
Death Row Records artists
Film producers from California
Former Nation of Islam members
Former Rastafarians
Gangsta rappers
G-funk artists
Living people
Male actors from California
Male actors from Los Angeles
Mount Westmore members
MTV Europe Music Award winners
Musicians from Long Beach, California
No Limit Records artists
Participants in American reality television series
People acquitted of murder
Priority Records artists
Rappers from Los Angeles
Record producers from California
Record producers from Los Angeles
Reggae fusion artists
Singers from Los Angeles
Singer-songwriters from California
Television producers from California
Twitch (service) streamers
West Coast hip hop musicians
WWE Hall of Fame inductees | false | [
"How Did This Get Made? (HDTGM) is a podcast on the Earwolf network. It is hosted by Paul Scheer, June Diane Raphael and Jason Mantzoukas. Each episode, which typically has a different guest, features the deconstruction and mockery of outlandish and bad films.\n\nFormat\nThe hosts and guest make jokes about the films as well as attempt to unscramble plots. After discussing the film, Scheer reads \"second opinions\" in the form of five-star reviews posted online by Amazon.com users. The hosts also often make recommendations on if the film is worth watching. The show is released every two weeks.\n\nDuring the show's off week a \".5\" episode (also known as a \"minisode\") is uploaded. These episodes feature Scheer's \"explanation hopeline\" where he answers questions from fans who call in, the movie for the next week is announced, Scheer reads corrections and omissions from the message board regarding last week's episode, and he opens fan mail and provides his recommendations on books, movies, TV shows etc. that he is enjoying.\n\nSome full episodes are recorded in front of a live audience and include a question and answer session and original \"second opinion\" theme songs sung by fans. Not all content from the live shows is included in the final released episode - about 30 minutes of each live show is edited out.\n\nHistory\nHow Did This Get Made? began after Scheer and Raphael saw the movie Wall Street: Money Never Sleeps. Later, the pair talked to Mantzoukas about the movie and joked about the idea for starting a bad movie podcast. , Wall Street: Money Never Sleeps has never been covered on the podcast.\n\nAwards\nIn 2019, How Did This Get Made? won a Webby Award in the category of Podcasts – Television & Film.\n\nIn 2020, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nIn 2022, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nSpinoffs\n\nHow Did This Get Made?: Origin Stories\nBetween February and September 2017, a 17-episode spin-off series of the podcast was released. Entitled How Did This Get Made?: Origin Stories, author Blake J. Harris would interview people involved with the movies discussed on the podcast. Guests on the show included director Mel Brooks, who served as executive producer on Solarbabies, and screenwriter Dan Gordon, who wrote Surf Ninjas.\n\nUnspooled\nIn May 2018, Scheer began a new podcast with Amy Nicholson titled Unspooled that is also devoted to movies. Unlike HDTGM?, however, Unspooled looks at films deemed good enough for the updated 2007 edition of the AFI Top 100. This is often referenced in How Did This Get Made? by Mantzoukas and Raphael, who are comically annoyed at how they were not invited to host the podcast, instead being subjected to the bad films that HDTGM covers.\n\nHow Did This Get Played?\nIn June 2019, the Earwolf network launched the podcast How Did This Get Played?, hosted by Doughboys host Nick Wiger and former Saturday Night Live writer Heather Anne Campbell. The podcast is positioned as the video game equivalent of HDTGM?, where Wiger and Campbell review widely panned video games.\n\nEpisodes\n\nAdaptation\nThe program was adapted in France in 2014 under the title 2 heures de perdues (http://www.2hdp.fr/ and available on Spotify and iTunes), a podcast in which several friends meet to analyze bad films in the same style (mainly American, French, and British films). The show then ends with a reading of comments found on AlloCiné (biggest French-speaking cinema website) or Amazon.\n\nReferences\n\nExternal links \n \n How Did This Get Made on Earwolf\n\nAudio podcasts\nEarwolf\nFilm and television podcasts\nComedy and humor podcasts\n2010 podcast debuts",
"Paththini is a 1997 Indian Tamil drama film, written and directed by P. Vasu. The film stars Jayaram and Khushbu in the lead roles, while Prakash Raj and Janagaraj portray supporting roles. The music for the film was composed by Deva and the film opened to mixed reviews in September 1997.\n\nCast\nJayaram\nKhushbu\nPrakash Raj\nJanagaraj\nThyagu\nCharle\n\nProduction\nAfter making several unsuccessful films during the mid 1990s, P. Vasu made a comeback with Vaimaye Vellum (1997) and the good performance of the film, fetched him an opportunity from Good Luck Films to make Paththini, said to be loosely based on the Hollywood film, Sleeping with the Enemy (1991). The venture saw the team from the successful 1993 film Purusha Lakshanam collaborate again with the producers, director, actor and actress returning to make Paththini.\n\nMusic\nThe soundtrack was composed by Deva. Lyrics were written by Vaali, Kalidasan, Piraisoodan and Valampuri John.\n\nRelease & reception\nThe film opened to mixed reviews in September 1997, and did not perform well at the box office. Deccan Herald wrote \"Pathini, if not for its connotations, is a film full of overworked themes. Not really worth seeing at all\".\n\nAwards \nThe film won two awards during the following year from the Tamil Nadu state — the Best Film portraying Women in Good Light and the Special Prize for actress Khushbu.\n\nReferences\n\n1997 films\nIndian films\n1990s Tamil-language films\nFilms scored by Deva (composer)\nFilms directed by P. Vasu\nIndian drama films\nFilms about domestic violence"
]
|
[
"Snoop Dogg",
"2012-13: Reincarnated and 7 Days of Funk",
"What happened in 2012-13?",
"On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album",
"What was the documentary about?",
"The film was released March 21, 2013 with the album slated for release",
"Did the film get good reviews?",
"I don't know."
]
| C_f4a48950757d43dab26bdc5d8444890b_1 | What was 7 days of funk? | 4 | What was Snoop Dogg's 7 days of funk? | Snoop Dogg | Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told that year. His other albums from No Limit were No Limit Top Dogg in 1999 (selling over 1,503,865 copies) and Tha Last Meal in 2000 (selling over 2,000,000). In 1999, his autobiography, Tha Doggfather, was published. In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, with it selling over 1,300,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image. In 2004, Snoop signed to Geffen Records/Star Trak Entertainment both of which were distributed through Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,724,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released album The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor", along with fellow rappers Lil Jon, Xzibit, and David Banner, Snoop Dogg's appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including the single "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. Also, his latest song, "Real Talk", was leaked over the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was a dedication to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the Governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio. Snoop's 2006 album, Tha Blue Carpet Treatment, debuted on the Billboard 200 at No.5 and has sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers for his single "Candy (Drippin' Like Water)". In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone prior to its release as a single, which was "It's the D.O.G.". On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie Singh Is Kinng; the title of the song is also "Singh is Kinng". He also appears in the movie as himself. The album featuring the song was released on June 8, 2008 on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy). Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice. Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 11, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010 as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain. Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' latest album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko. On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013 with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album, "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times". On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafarian priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena. In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic--they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound. In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dam-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013. CANNOTANSWER | Snoop formed a funk duo with musician Dam-Funk called 7 Days of Funk | Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg (previously Snoop Doggy Dogg and briefly Snoop Lion), is an American rapper, songwriter, media personality, actor, and entrepreneur. His fame dates to 1992 when he featured on Dr. Dre's debut solo single, "Deep Cover", and then on Dre's debut solo album, The Chronic. Broadus has since sold over 23 million albums in the United States and 35 million albums worldwide.
Broadus' debut solo album, Doggystyle, produced by Dr. Dre, was released by Death Row Records in November 1993, and debuted at number one on the popular albums chart, the Billboard 200, and on Billboards Top R&B/Hip-Hop Albums chart. Selling 800,000 copies in its first week, Doggystyle was certified quadruple-platinum in 1994 and bore several hit singles, including "What's My Name?" and "Gin and Juice". In 1994, Death Row Records released a soundtrack, by Broadus, for the short film Murder Was the Case, starring Snoop. In 1996, his second album, Tha Doggfather, also debuted at number one on both charts, with "Snoop's Upside Ya Head" as the lead single. The next year, the album was certified double-platinum.
After leaving Death Row Records in January 1998, Broadus signed with No Limit Records, releasing three Snoop albums: Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). In 2002, he signed with Priority/Capitol/EMI Records, releasing Paid tha Cost to Be da Boss. In 2004, he signed to Geffen Records, releasing his next three albums: R&G (Rhythm & Gangsta): The Masterpiece, then Tha Blue Carpet Treatment, and Ego Trippin'. Priority Records released his album Malice 'n Wonderland during 2009, followed by Doggumentary during 2011. Snoop Dogg has starred in motion pictures and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. He also coaches a youth football league and high-school football team. In September 2009, EMI hired him as the chairman of a reactivated Priority Records.
In 2012, after a trip to Jamaica, Broadus announced a conversion to Rastafari and a new alias, Snoop Lion. As Snoop Lion he released a reggae album, Reincarnated, and a documentary film of the same name, about his Jamaican experience, in early 2013. His 13th studio album, Bush, was released in May 2015 and marked a return of the Snoop Dogg name. His 14th solo studio album, Coolaid, was released in July 2016. In March 2016, the night before WrestleMania 32 in Arlington, Texas, he was inducted into the celebrity wing of the WWE Hall of Fame, having made several appearances for the company, including as master of ceremonies during a match at WrestleMania XXIV. In 2018, Snoop announced that he was "a born-again Christian" and released his first gospel album Bible of Love. On November 19, 2018, Snoop Dogg was given a star on the Hollywood Walk of Fame. He released his seventeenth solo album, I Wanna Thank Me, in 2019. In 2022, Snoop Dogg acquired Death Row Records from MNRK Music Group (formerly known as eOne Music), and released his 20th studio album, BODR. Snoop has had 17 Grammy nominations without a win.
Early life
Calvin Cordozar Broadus Jr. was born on October 20, 1971, in Long Beach, California to Vernell Varnado and Beverly Tate. Vernell, who was a Vietnam War veteran, singer, and mail carrier, left the family only three months after his birth, and thus he was named after his stepfather, Calvin Cordozar Broadus Sr. (1948–1985). His father remained largely absent from his life. As a boy, his parents nicknamed him "Snoopy" due to his love and likeness of the cartoon character from Peanuts. He was the second of his mother's three sons. His mother and stepfather divorced in 1975. When Broadus was very young, he began singing and playing piano at the Golgotha Trinity Baptist Church. In sixth grade, he began rapping. As a child, Broadus sold candy, delivered newspapers, and bagged groceries to help his family make ends meet. He was described as having been a dedicated student and enthusiastic churchgoer, active in choir and football. Broadus said in 1993 that he began engaging in unlawful activities and joining gangs in his teenage years, despite his mother's preventative efforts.
Broadus would frequently rap in school. As he recalled: "When I rapped in the hallways at school I would draw such a big crowd that the principal would think there was a fight going on. It made me begin to realize that I had a gift. I could tell that my raps interested people and that made me interested in myself."
As a teenager, Broadus frequently ran into trouble with the law. He was a member of the Rollin' 20s Crips gang in the Eastside neighborhood of Long Beach; although in 1993 he denied the frequent police and media reports by saying that he never joined a gang. Shortly after graduating from high school at Long Beach Polytechnic High School in 1989, he was arrested for possession of cocaine, and for the next three years, was frequently incarcerated, including at Wayside Jail. With his two cousins, Nate Dogg and Lil' ½ Dead, and friend Warren G, Snoop recorded homemade tapes; the four called their group 213 after the area code of their native Long Beach at that time. One of Snoop's early solo freestyles over "Hold On" by En Vogue was on a mixtape that fortuitously wound up with Dr. Dre; the influential producer was so impressed by the sample that he called Snoop to audition. Former N.W.A affiliate The D.O.C. taught him to structure his lyrics and separate the themes into verses, hooks, and choruses.
Musical career
1992–1998: Death Row, Doggystyle, and Tha Doggfather
When he began recording, Broadus took the stage name Snoop Doggy Dogg. Dr. Dre began working with him, first on the theme song of the 1992 film Deep Cover and then on Dr. Dre's debut solo album The Chronic along with the other members of his former starting group, Tha Dogg Pound. This intense exposure played a considerable part in making Snoop Dogg's debut album, Doggystyle, the critical and commercial success that it was.
Fueling the ascendance of West Coast G-funk hip hop, the singles "Who Am I (What's My Name)?" and "Gin and Juice" reached the top ten most-played songs in the United States, and the album stayed on the Billboard charts for several months. Gangsta rap became the center of arguments about censorship and labeling, with Snoop Dogg often used as an example of violent and misogynistic musicians. Unlike much of the harder-edged gangsta rap artists, Snoop Dogg seemed to show his softer side, according to music journalist Chuck Philips. Rolling Stone music critic Touré asserted that Snoop had a relatively soft vocal delivery compared to other rappers: "Snoop's vocal style is part of what distinguishes him: where many rappers scream, figuratively and literally, he speaks softly." Doggystyle, much like The Chronic, featured a host of rappers signed to or affiliated with the Death Row label including Daz Dillinger, Kurupt, Nate Dogg, and others.
In 1993, Snoop Dogg was charged with first-degree murder for the shooting of Philip Woldermariam, a member of a rival gang who was actually killed by Snoop’s bodyguard, McKinley Lee, aka Malik. Broadus was acquitted on February 20, 1996. According to Broadus, after he was acquitted he did not want to continue living the "gangsta" lifestyle, because he felt that continuing his behavior would result in his assassination or a prison term. A short film about Snoop Dogg's murder trial, Murder Was the Case, was released in 1994, along with an accompanying soundtrack. On July 6, 1995, Doggy Style Records, Inc., a record label founded by Snoop Dogg, was registered with the California Secretary of State as business entity number C1923139.
After his acquittal, he, the mother of his son, and their kennel of 20 pit bulls moved into a home in the hills of Claremont, California and by August 1996 Doggy Style Records, a subsidiary of Death Row Records, signed the Gap Band Charlie Wilson as one of its first artists. He collaborated with fellow rap artist Tupac Shakur on the 1996 single "2 of Amerikaz Most Wanted". This was one of Shakur's last songs while alive; he was shot on September 7, 1996, in Las Vegas, dying six days later.
By the time Snoop Dogg's second album, Tha Doggfather, was released in November 1996, the price of appearing to live the gangsta life had become very evident. Among the many notable hip hop industry deaths and convictions were the death of Snoop Dogg's friend and labelmate Tupac Shakur and the racketeering indictment of Death Row co-founder Suge Knight. Dr. Dre had left Death Row earlier in 1996 because of a contract dispute, so Snoop Dogg co-produced Tha Doggfather with Daz Dillinger and DJ Pooh.
This album featured a distinct change of style from Doggystyle, and the leadoff single, "Snoop's Upside Ya Head", featured a collaboration with Charlie Wilson The album sold reasonably well but was not as successful as its predecessor. Tha Doggfather had a somewhat softer approach to the G-funk style. After Dr. Dre withdrew from Death Row Records, Snoop realized that he was subject to an ironclad time-based contract (i.e., that Death Row practically owned anything he produced for a number of years), and refused to produce any more tracks for Suge Knight other than the insulting "Fuck Death Row" until his contract expired. In an interview with Neil Strauss in 1998, Snoop Dogg said that though he had been given lavish gifts by his former label, they had withheld his royalty payments.
Stephen Thomas Erlewine of Allmusic said that after Tha Doggfather, Snoop Dogg began "moving away from his gangsta roots toward a calmer lyrical aesthetic": for instance, Snoop participated in the 1997 Lollapalooza concert tour, which featured mainly alternative rock music. Troy J. Augusto of Variety noticed that Snoop's set at Lollapalooza attracted "much dancing, and, strangely, even a small mosh pit" in the audience.
1998–2006: Signing with No Limit and continued success
Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in March 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told later that year. He said at the time that "Snoop Dogg is universal so he can fit into any camp-especially a camp that knows how to handmake shit[;] [a]nd, No Limit hand makes material. They make material fittin' to the artist and they know what type of shit Snoop Dogg is supposed to be on. That's why it's so tight." [sic] His other albums on No Limit were No Limit Top Dogg in 1999 (selling over 1,510,000 copies) and Tha Last Meal in 2000 (selling over 2,100,000). In 1999, his autobiography, Tha Doggfather, was published.
In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, selling over 1,310,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image.
In June 2004, Snoop signed to Geffen Records/Star Trak Entertainment, both distributed by Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,730,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included the single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor" along with fellow rappers Lil Jon, Xzibit, and David Banner,
Snoop Dogg appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. His song "Real Talk" was leaked on the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was dedicated to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio.
Snoop's 2006 album Tha Blue Carpet Treatment debuted on the Billboard 200 at No.5 and sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers on the single "Candy (Drippin' Like Water)".
2007–2012: Ego Trippin', Malice n Wonderland and Doggumentary
In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone before its release as a single, "It's the D.O.G." On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie, Singh Is Kinng; the song title is also "Singh is Kinng". He appears in the movie as himself. The album featuring the song was released on June 8, 2008, on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy).
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice.
Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 7, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010, as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain.
Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko.
2012–2013: Reincarnated and 7 Days of Funk
On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013, with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album: "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times".
On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafari priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena.
In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic—they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound.
In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dâm-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013.
2014–2017: Bush, Coolaid, and Neva Left
In August 2014, a clip surfaced online featuring a sneak preview of a song Snoop had recorded for Pharrell. Snoop's Pharrell Williams-produced album Bush was released on May 12, 2015, with the first single "Peaches N Cream" having been released on March 10, 2015.
On June 13, 2016, Snoop Dogg announced the release date for his album Coolaid, which was released on July 1, 2016. He headlined a "unity party" for donors at Philly's Electric Factory on July 28, 2016, the last day of the Democratic National Convention. Released March 1, 2017, through his own Doggy Style Records, "Promise You This" precedes the release of his upcoming Coolaid film based on the album of the same name. Snoop Dogg released his fifteenth studio album Neva Left in May 2017.
2018–2021: Bible of Love, I Wanna Thank Me, and From tha Streets 2 tha Suites
He released a gospel album titled Bible of Love on March 16, 2018. Snoop was featured on Gorillaz' latest album The Now Now on a track called: "Hollywood" with Jamie Principle. In November 2018, Snoop Dogg announced plans for his Puff Puff Pass tour, which features Bone Thugs-n-Harmony, Too $hort, Warren G, Kurupt, and others. The tour ran from November 24 to January 5.
Snoop Dogg was featured on Lil Dicky's April 2019 single "Earth", where he played the role of a marijuana plant in both the song's lyrics and animated video. Snoop Dogg was among hundreds of artists whose material was destroyed in the 2008 Universal fire. On July 3, 2019, Snoop Dogg released the title track from his upcoming 17th studio album, I Wanna Thank Me. The album was released on August 16, 2019. Snoop Dogg collaborated with Vietnamese singer Son Tung M-TP in "Hãy trao cho anh" ("Give it to Me"), which was officially released on July 1, 2019. As of October 3, 2019, the music video has amassed over 158 million views on YouTube.
Early in 2020, it was announced that Snoop had rescheduled his tour in support of his I Wanna Thank You album and documentary of the same name. The tour has been rescheduled to commence in February 2021. In May 2020, Snoop released the song "Que Maldicion", a collaboration with Banda Sinaloense de Sergio Lizarraga, peaking at number one on the Billboard Bubbling Under Hot 100.
On April 20, 2021, Snoop Dogg released his eighteenth studio album From tha Streets 2 tha Suites. It was announced on April 7, 2021, via Instagram. The album received generally positive reviews from critics.
During an interview on the September 27 airing of The Tonight Show Starring Jimmy Fallon, Snoop Dogg announced Algorithm. The album was released on November 19, 2021.
2022-present: Super Bowl Halftime Show performance and BODR
Snoop Dogg performed at the Super Bowl LVI Halftime Show alongside Dr. Dre, Eminem, Mary J. Blige, and Kendrick Lamar.
In January 2022, Snoop Dogg announced that he would release his 19th studio album, BODR, on the same day as his Super Bowl Halftime Show performance. However, the album's release was pushed forward two days and was released on February 11, 2022.
On , Snoop Dogg announced that he is officially in charge at Death Row Records.
Other ventures
Broadus has appeared in numerous films and television episodes throughout his career. His starring roles in film includes The Wash (with Dr. Dre) and the horror film Bones. He also co-starred with rapper Wiz Khalifa in the 2012 movie Mac and Devin Go to High School which a sequel has been announced. He has had various supporting and cameo roles in film, including Half Baked, Training Day, Starsky & Hutch, and Brüno.
He has starred in three television programs: sketch-comedy show Doggy Fizzle Televizzle, variety show Dogg After Dark, and reality show Snoop Dogg's Father Hood (also starring Snoop's wife and children). He has starred in episodes of King of the Hill, Las Vegas, and Monk, one episode of Robot Chicken, as well as three episodes of One Life to Live. He has participated in three Comedy Central Roasts, for Flavor Flav, Donald Trump, and Justin Bieber. Cameo television appearances include episodes of The L Word, Weeds, Entourage, I Get That a Lot, Monk, and The Price Is Right. He has also appeared in an episode of the YouTube video series, Epic Rap Battles of History as Moses.
In 2000, Broadus (as "Michael J. Corleone") directed Snoop Dogg's Doggystyle, a pornographic film produced by Hustler. The film, combining hip hop with x-rated material, was a huge success and won "Top Selling Release of the Year" at the 2002 AVN Awards. Snoop then directed Snoop Dogg's Hustlaz: Diary of a Pimp in 2002 (using the nickname "Snoop Scorsese").
Broadus founded his own production company, Snoopadelic Films, in 2005. Their debut film was Boss'n Up, a film inspired by Snoop Dogg's album R&G, starring Lil Jon and Trina.
On March 30, 2008, he appeared at WrestleMania XXIV as a Master of Ceremonies for a tag team match between Maria and Ashley Massaro as they took on Beth Phoenix and Melina. At WrestleMania 32, he accompanied his cousin Sasha Banks to the ring for her match, rapping over her theme music. He was also inducted into the WWE Hall of Fame in 2016.
In December 2013, Broadus performed at the annual Kennedy Center Honors concert, honoring jazz pianist Herbie Hancock. After his performance, Snoop credited Hancock with "inventing hip-hop".
On several occasions, Broadus has appeared at the Players Ball in support of Bishop Don Magic Juan. Juan appeared on Snoop's videos for "Boss Playa", "A.D.I.D.A.C.", "P.I.M.P. (Remix)", "Nuthin' Without Me" and "A Pimp's Christmas Song".
In January 2016, a Change.org petition was created in the hopes of having Broadus narrate the entire Planet Earth series. The petition comes after Snoop narrated a number of nature clips on Jimmy Kimmel Live!
In April 2016, Broadus performed "Straight outta Compton" and "Fuck tha Police" at Coachella, during a reunion of N.W.A. members Dr. Dre, Ice Cube and MC Ren.
He hosted a Basketball fundraiser "Hoops 4 Water" for Flint, Michigan. The event occurred on May 21, 2016, and was run by former Toronto Raptors star and Flint native Morris Peterson.
In the fall of 2016, VH1 premiered a new show featuring Broadus and his friend Martha Stewart at called Martha & Snoop's Potluck Dinner Party, featuring games, recipes, and musical guests. Broadus and Stewart also later starred together in a Super Bowl commercial for T-Mobile during Super Bowl LI in February 2017.
Broadus hosts a revival of The Joker's Wild, which spent its first two seasons on TBS before moving to TNT in January 2019. He is in the film, Sponge on the Run.
Broadus has also created a fried chicken recipe, with barbecue flavor potato chips as an added ingredient in the batter.
In early 2020, Broadus launched his debut wine release, under the name "Snoop Cali Red", in a partnership with the Australian wine brand, 19 Crimes. The red wine blend features Snoop's face on the label.
Broadus provided commentary for Mike Tyson vs. Roy Jones Jr., who some pundits described as having "won" the night through his colorful commentary and reactions. At one point, Snoop described Tyson and Jones as "like two of my uncles fighting at the barbecue"; he also began singing a hymn, Take My Hand, Precious Lord, during the undercard fight between Jake Paul and Nate Robinson, after Robinson was knocked down.
Broadus made a special guest appearance in All Elite Wrestling on the January 6, 2021, episode of AEW Dynamite, titled New Year's Smash. During this appearance, Snoop appeared in the corner of Cody Rhodes during Rhodes' match with Matt Sydal. He later gave Serpentico a Frog Splash, with Rhodes then delivering a three-count.
In June 2021, Snoop Dogg officially joined Def Jam Recordings as its new Executive Creative and Strategic Consultant, a role allowing him to strategically work across the label’s executive team and artist roster. His immediate focus was A&R and creative development, reporting to Universal Music Group Chairman & CEO Sir Lucian Grainge as well as Def Jam interim Chairman and CEO Jeffrey Harleston. On November 12, 2021, Snoop Dogg announced the signing of Benny the Butcher on Joe Rogan's podcast.
In February 2022, it was announced that Snoop Dogg had fully acquired Death Row Records from its previous owners, The MNRK Music Group (formerly eOne Music). The label was also revived when Snoop Dogg released his 20th album BODR.
Style and rap skills
Kool Moe Dee ranks Broadus at No. 33 in his book There's a God on the Mic, and says he has "an ultra-smooth, laidback delivery" and "flavor-filled melodic rhyming".
Peter Shapiro describes Broadus’ delivery as a "molasses drawl" and AllMusic notes his "drawled, laconic rhyming" style. Kool Moe Dee refers to Snoop's use of vocabulary, saying he "keeps it real simple...he simplifies it and he's effective in his simplicity".
Broadus is known to freestyle some of his lyrics on the spot – in the book How to Rap, Lady of Rage says, "When I worked with him earlier in his career, that's how created his stuff... he would freestyle, he wasn't a writer then, he was a freestyler", and The D.O.C. states, "Snoop's [rap] was a one take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busting. The song was "Tha Shiznit"—that was all freestyle. He started busting and when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then."
Peter Shapiro says that Broadus debuted on "Deep Cover" with a "shockingly original flow – which sounded like a Slick Rick born in South Carolina instead of South London" and adds that he "showed where his style came from by covering Slick Rick's 'La Di Da Di'". Referring to Snoop's flow, Kool Moe Dee calls him "one of the smoothest, funkiest flow-ers in the game". How to Rap also notes that Snoop is known to use syncopation in his flow to give it a laidback quality, as well as 'linking with rhythm' in his compound rhymes, using alliteration, and employing a "sparse" flow with good use of pauses.
Broadus popularized the use of -izzle speak particularly in the pop and hip-hop music industry. A type of infix, it first found popularity when used by Frankie Smith in his 1981 hit song Double Dutch Bus.
Broadus listed his favourite rap albums for Hip Hop Connection:
10. Mixmaster Spade, The Genius Is Back
9. Lauryn Hill, The Miseducation of Lauryn Hill
8. Ice Cube, Death Certificate
7. 2Pac, Me Against the World
6. The Notorious B.I.G., Ready to Die
5. N.W.A, Straight Outta Compton
4. Eric B. & Rakim, Paid in Full
3. Slick Rick, The Great Adventures of Slick Rick
2. Snoop Doggy Dogg, Doggystyle
1. Dr. Dre, The Chronic ("It's da illest shit")
Personal life
Snoop married his high school girlfriend, Shante Taylor, on June 12, 1997. On May 21, 2004, he filed for divorce from Taylor, citing irreconcilable differences. The couple however remarried on January 12, 2008. They have three children together: sons Cordé (born August 21, 1994) and Cordell (born February 21, 1997), who quit football to pursue a career as a film maker, and daughter Cori (born June 22, 1999). Snoop also has a son from a relationship with Laurie Holmond, Julian Corrie Broadus (born 1998). He is a first cousin of R&B singers Brandy and Ray J, and WWE professional wrestler Sasha Banks. In 2015 Snoop became a grandfather, as his eldest son, Cordé Broadus, had a son with his girlfriend, Jessica Kyzer. Cordé had another son, Kai, who died on September 25, 2019, ten days after birth.
Since the start of his career, Snoop has been an avowed cannabis smoker, making it one of the trademarks of his image. In 2002, he announced he was giving up cannabis for good; that did not last long (a situation famously referenced in the 2004 Adam Sandler movie 50 First Dates) and in 2013, he claimed to be smoking approximately 80 cannabis blunts a day. He has been certified for medical cannabis in California to treat migraines since at least 2007.
Snoop claimed in a 2006 interview with Rolling Stone magazine that unlike other hip hop artists who had superficially adopted the pimp persona, he was an actual professional pimp in 2003 and 2004, saying, "That shit was my natural calling and once I got involved with it, it became fun. It was like shootin' layups for me. I was makin' 'em every time."
On October 24, 2021, Snoop's mother, Beverly Tate, died.
Sports
Snoop is an avid sports fan, including hometown teams Los Angeles Dodgers, Los Angeles Lakers, and USC Trojans, as well as the Pittsburgh Steelers. He has stated that he began following the Steelers in the 1970s while watching the team with his grandfather. He is also a fan of the Las Vegas Raiders, Los Angeles Rams, and Dallas Cowboys, often wearing a No. 5 jersey, and has been seen at Raiders training camps. He has shown affection for the New England Patriots, having been seen performing at Gillette Stadium. He is an avid ice hockey fan, sporting jerseys from the NHL's Los Angeles Kings, Pittsburgh Penguins, Toronto Maple Leafs and the Boston Bruins as well at the AHL's Springfield Indians in his 1994 music video "Gin and Juice". Snoop has been seen attending Los Angeles Kings games. On his reality show Snoop Dogg's Father Hood, Snoop and his family received hockey lessons from the Anaheim Ducks, then returned to the Honda Center to cheer on the Ducks against the Vancouver Canucks in the episode "Snow in da Hood". Snoop appeared in the video game NHL 20 as both a guest commentator and a playable character in the "World of Chel" game mode.
Snoop is a certified football coach and has been head coach of his son Cordell's youth football teams. Cordell played wide receiver and defensive back at Bishop Gorman High School in Las Vegas, Nevada, Cordell played on the 2014 state championship team, and received football scholarship offers from Southern California, UCLA, Washington, Cal, Oregon State, Duke, and Notre Dame. Cordell committed and signed a letter of intent to play for UCLA on February 4, 2015. On August 14, 2015, UCLA announced that Cordell had left the UCLA football team "to pursue other passions in his life".
Since 2005, Snoop Dogg has been operating a youth football league in the Los Angeles area. He is a coach in the league, and one of the seasons he coached was documented in the Netflix documentary Coach Snoop.
Religion
In 2009, it was reported that Snoop was a member of the Nation of Islam. On March 1, he made an appearance at the Nation of Islam's annual Saviours' Day holiday, where he praised minister Louis Farrakhan. Snoop said he was a member of the Nation, but declined to give the date on which he joined. He also donated $1,000 to the organization.
Claiming to be "born again" in 2012, Snoop converted to the Rastafari movement, switched the focus of his music to reggae and changed his name to Snoop Lion after a trip to Jamaica. He released a reggae album, Reincarnated, saying, "I have always said I was Bob Marley reincarnated".
In January 2013, he received criticism from members of the Rastafari community in Jamaica, including reggae artist Bunny Wailer, for alleged failure to meet his commitments to the culture. Snoop later dismissed the claims, stating his beliefs were personal and not up for outside judgment.
After releasing Bible of Love in early 2018 and performing in the 33rd Annual Stellar Gospel Music Awards, Snoop Dogg told a TV One interviewer while speaking of his Gospel influences that he "always referred to [his] savior Jesus Christ" on most of his records, and that he had become "a born-again Christian".
Charity
In 2005, Snoop Dogg founded the Snoop Youth Football League for at-risk youth in Southern California. In 2018, it was claimed to be the largest youth football organization in Southern California, with 50 teams and more than 1,500 players.
Snoop Dogg partners with city officials and annually gives away turkeys to the less fortunate in Inglewood, California at Thanksgiving. He gave away 3000 turkeys in 2016.
Politics
In 2012, Snoop Dogg endorsed Representative Ron Paul in the Republican presidential primary, but later said he would vote for Barack Obama in the general election, and on Instagram gave ten reasons to vote for Obama (including "He a black nigga", "He's BFFs with Jay-Z", and "Michelle got a fat ass"), and ten reasons not to vote for Mitt Romney (including "He a white nigga", "That muthafucka's name is Mitt", and "He a ho").
In a 2013 interview with The Huffington Post, Snoop Dogg advocated for same-sex marriage, saying, “People can do what they want and as they please."
In his keynote address at the 2015 South by Southwest music festival, he blamed Los Angeles's explosion of gang violence in the 1980s on the economic policies of Ronald Reagan, and insinuated that his administration shipped guns and drugs into the area.
He endorsed presidential candidate Hillary Clinton on Bravo's Watch What Happens Live in May 2015, saying, "I would love to see a woman in office because I feel like we're at that stage in life to where we need a perspective other than the male's train of thought" and "[...] just to have a woman speaking from a global perspective as far as representing America, I'd love to see that. So I'll be voting for Mrs. Clinton."
Following the deadly shooting of five police officers in Dallas on July 7, 2016, Snoop Dogg and The Game organized and led a peaceful march to the Los Angeles Police Department headquarters. The subsequent private meeting with the mayor Eric Garcetti and police chief Charlie Beck, and news conference was, according to Broadus, "[...] to get some dialogue and the communication going [...]". The march and conference were part of an initiative called "Operation ", serving as a police brutality protest in response to the police shooting and killing of two black men, Philando Castile and Alton Sterling, whose killing prompted nationwide protests including those that led to the Dallas killing of police officers. Broadus stated that "We are tired of what is going on and it's communication that is lacking". Reports of attendance range between 50–100 people.
Snoop Dogg advocates for the defunding of police departments, saying "We need to start taking that money out of their pocket and put it back into our communities where we can police ourselves." In 2020, he endorsed former Vice President Joe Biden for President of the United States.
Animal rights
Snoop Dogg regularly appears in real fur garments, especially large coats, for which he attracts criticism from animal welfare charities and younger audiences. In a video podcast in 2012, the rapper asked "Why doesn't PETA throw paint on a pimp's fur coat". In 2014, Snoop Dogg claimed to have become a vegan. In June 2018, he performed at the Environmental Media Association (EMA) Honors Gala. While he was performing, the logo for Beyond Meat was displayed on the screens behind him. In 2020, Snoop Dogg invested in vegan food company Original Foods, which makes Pigless Pork Rinds, which he has said are a favorite. He is an ambassador for vegan brand Beyond Meat.
Business ventures and investments
Broadus has been an active entrepreneur and investor. In 2009, he was appointed creative chairman of Priority Records.
In May 2013, Broadus and his brand manager Nick Adler released an app, Snoopify, that lets users plaster stickers of Snoop's face, joints or a walrus hat on photos. Adler built the app in May after discovering stickers in Japan. As of 2015, the app was generating $30,000 in weekly sales.
In October 2014, Reddit raised $50 million in a funding round led by Sam Altman and including investors Marc Andreessen, Peter Thiel, Ron Conway, Snoop Dogg and Jared Leto.
In April 2015, Broadus became a minority investor in his first investment venture Eaze, a California-based weed delivery startup that promises to deliver medical marijuana to persons' doorsteps in less than 10 minutes.
In October 2015, Broadus launched his new digital media business, Merry Jane, that focuses on news about marijuana. "Merry Jane is cannabis 2.0", he said in a promotional video for the media source. "A crossroads of pot culture, business, politics, health."
In November 2015, Broadus announced his new brand of cannabis products, Leafs By Snoop. The line of branded products includes marijuana flowers, concentrates and edibles. "Leafs By Snoop is truly the first mainstream cannabis brand in the world and proud to be a pioneer", Snoop Dogg said. In such a way, Broadus became the first major celebrity to brand and market a line of legal marijuana products.
On March 30, 2016, Broadus was reported to be considering purchasing the famed soul food restaurant chain Roscoe's House of Chicken and Waffles out of bankruptcy.
In 2019, Snoop Dogg ventured into the video game business, creating his own esports league known as the "Gangsta Gaming League".
World records
Largest paradise cocktail
At the BottleRock Napa Valley music festival on May 26, 2018, Snoop Dogg, Warren G, Kendall Coleman, Kim Kaechele and Michael Voltaggio set the Guinness World Record for the largest paradise cocktail. Measuring , the "Gin and Juice" drink was mixed from 180 bottles of gin, 156 bottles of apricot brandy and 28 jugs of orange juice.
Reported volume and content
Time reported its total volume as "...more than 132 gallons [], according to Guinness...", following with an embedded tweet by Liam Mayclem via GWR (the Guinness World Records' official Twitter account), showing a reply from GWR to its own tweet stating "[t]he cocktail contained 180 bottles of Hendricks gin, 154 bottles of apricot brandy and 38 3.78 litre jugs of orange juice..."
Mixmag, NME and USA Today published the same content quantities as GWR's tweet. with Mixmag reporting that "[a]ccording to Guinness the cocktail measured at 132 gallons." NME states that the total volume was "...more than 132 gallons" and USA Todays European website states that "[a] Guinness World Records official was on hand to certify the record of the 550 liter cocktail."
Billboard published that "...the concoction required 180 handles of Hendricks gin, resulting in a gigantic beverage...".
Legal incidents
Shortly after graduating from high school in 1989, Broadus was arrested for possession of cocaine and for the following three years was frequently in and out of prison. In 1990, he was convicted of felony possession of drugs and possession for sale.
While recording Doggystyle in August 1993, Snoop Dogg was arrested in connection with the death of a member of a rival gang who was allegedly shot and killed by Snoop Dogg's bodyguard; Snoop Dogg had been temporarily living in an apartment complex in the Palms neighborhood in the West Los Angeles region, in the intersection of Vinton Avenue and Woodbine Street - the location of the shooting. Both men were charged with murder, as Snoop Dogg was purportedly driving the vehicle from which the gun was fired. Johnnie Cochran defended them. Both Snoop Dogg and his bodyguard were acquitted on February 20, 1996.
In July 1993, Snoop Dogg was stopped for a traffic violation and a firearm was found by police during a search of his car. In February 1997, he pleaded guilty to possession of a handgun and was ordered to record three public service announcements, pay a $1,000 fine, and serve three years' probation.
In September 2006, Snoop Dogg was detained at John Wayne Airport in Orange County, California by airport security, after airport screeners found a collapsible police baton in Snoop's carry-on bag. Donald Etra, Snoop's lawyer, told deputies the baton was a prop for a musical sketch. Snoop was sentenced to three years' probation and 160 hours of community service for the incident starting in September 2007. Snoop Dogg was arrested again in October 2006 at Bob Hope Airport in Burbank after being stopped for a traffic infraction; he was arrested for possession of a firearm and for suspicion of transporting an unspecified amount of marijuana, according to a police statement. The following month, after taping an appearance on The Tonight Show with Jay Leno, he was arrested again for possession of marijuana, cocaine and a firearm. Two members of Snoop's entourage, according to the Burbank police statement, were admitted members of the Rollin 20's Crips gang, and were arrested on separate charges. In April 2007, he was given a three-year suspended sentence, five years' probation, and 800 hours of community service after pleading no contest to two felony charges of drug and gun possession by a convicted felon. He was also prohibited from hiring anyone with a criminal record or gang affiliation as a security guard or a driver.
On April 26, 2006, Snoop Dogg and members of his entourage were arrested after being turned away from British Airways' first class lounge at Heathrow Airport in London, England. Snoop and his party were denied entry to the lounge due to some members flying in economy class. After being escorted outside, the group got in a fight with the police and vandalized a duty-free shop. Seven police officers were injured during the incident. After a night in jail, Snoop and the other men were released on bail the next day, but he was unable to perform a scheduled concert in Johannesburg. On May 15, the Home Office decided that Snoop Dogg would be denied entry to the United Kingdom for the foreseeable future, and his British visa was denied the following year. As of March 2010, Snoop Dogg was allowed back into the UK. The entire group was banned from British Airways "for the foreseeable future”.
In April 2007, the Australian Department of Immigration and Citizenship banned him from entering the country on character grounds, citing his prior criminal convictions. He had been scheduled to appear at the MTV Australia Video Music Awards on April 29, 2007. The Australian Department of Immigration and Citizenship lifted the ban in September 2008 and had granted him a visa to tour Australia. The DIAC said: "In making this decision, the department weighed his criminal convictions against his previous behaviour while in Australia, recent conduct – including charity work – and any likely risk to the Australian community ... We took into account all relevant factors and, on balance, the department decided to grant the visa."
Snoop was banned from entering Norway for two years in July 2012 after entering the country the month before in possession of 8 grams (0.3 oz) of marijuana and an undeclared 227,000 kr in cash, or about as of August 2018.
Snoop Dogg, after performing for a concert in Uppsala, Sweden on July 25, 2015, was pulled over and detained by Swedish police for allegedly using illegal drugs, violating a Swedish law enacted in 1988, which criminalized the recreational use of such substances – therefore making even being under the influence of any illegal/controlled substance a crime itself without possession. During the detention, he was taken to the police station to perform a drug test and was released shortly afterwards. The rapid test was positive for traces of narcotics, and he was potentially subject to fines depending on the results of more detailed analysis. Although final results "strongly" indicated drug use, the charges were ultimately dropped because it could not be proven that he was in Sweden when he consumed the substances. The rapper uploaded several videos on the social networking site Instagram, criticizing the police for alleged racial profiling; police spokesman Daniel Nilsson responded to the accusations, saying, "we don't work like that in Sweden." He declared in the videos, "Niggas got me in the back of police car right now in Sweden, cuz,” and "Pulled a nigga over for nothing, taking us to the station where I've got to go pee in a cup for nothin'. I ain't done nothin'. All I did was came to the country and did a concert, and now I've got to go to the police station. For nothin'!" He announced to his Swedish fanbase that he would no longer go on tour in the country due to the incident.
Snoop Dogg has also been arrested and fined three times for misdemeanor possession of marijuana: in Los Angeles in 1998, Cleveland, Ohio in 2001, and Sierra Blanca, Texas in 2010.
In the Death Row Records bankruptcy case, Snoop Dogg lost $2 million.
In February 2022, a woman sued Snoop Dogg for $10 million, alleging that he sexually assaulted her in May 2013 following a concert in Anaheim, California. A source representing Snoop Dogg has denied the accusation. Snoop Dogg was also sued for sexual assault in 2005.
DiscographyStudio albumsDoggystyle (1993)
Tha Doggfather (1996)
Da Game Is to Be Sold, Not to Be Told (1998)
No Limit Top Dogg (1999)
Tha Last Meal (2000)
Paid tha Cost to Be da Boss (2002)
R&G (Rhythm & Gangsta): The Masterpiece (2004)
Tha Blue Carpet Treatment (2006)
Ego Trippin' (2008)
Malice n Wonderland (2009)
Doggumentary (2011)
Reincarnated (2013)
Bush (2015)
Coolaid (2016)
Neva Left (2017)
Bible of Love (2018)
I Wanna Thank Me (2019)
From tha Streets 2 tha Suites (2021)
BODR (2022)Collaboration albumsTha Eastsidaz with Tha Eastsidaz (2000)
Duces 'n Trayz: The Old Fashioned Way with Tha Eastsidaz (2001)
The Hard Way with 213 (2004)
Mac & Devin Go to High School with Wiz Khalifa (2011)
7 Days of Funk with 7 Days of Funk (2013)
Royal Fam with Tha Broadus Boyz (2013)
Cuzznz with Daz Dillinger (2016)
Filmography
{| class="wikitable"
|- style="background:#ccc; text-align:center;"
! colspan="4" style="background: LightSteelBlue;" | Television
|- style="background:#ccc; text-align:center;"
! Year
! Title
! Role
! Notes
|-
| 1993–1994
| The Word
| Himself
| 2 episodes
|-
| 1994
| Martin
| Himself
| Episode: "No Love Lost"
|-
| 1997
| The Steve Harvey Show
| Himself
| Episode: "I Do, I Don't"
|-
| 2001
| King of the Hill
| Alabaster Jones
| Episode: "Ho Yeah!"
|-
| 2001
| Just Shoot Me
| Himself
| Episode: "Finch in the Dogg House"
|-
| 2002–2003
| Doggy Fizzle Televizzle
| Himself
| 8 episodes
|-
| 2003
| Playmakers
| Big E
| Episode: "Tenth of a Second"
|-
| 2003
| Crank Yankers
| Himself
| Episode: "Snoop Dogg & Kevin Nealon"
|-
| 2004
| Chappelle's Show
| Puppet Dangle/Himself
| Episode 10
|-
| 2004
| Las Vegas
| Himself
| Episode: "Two of a Kind"
|-
| 2004
| The Bernie Mac Show
| Calvin
| Episode: "Big Brother"
|-
| 2004
| The L Word
| Slim Daddy
| Episodes: "Luck, Next Time" & "Liberally"
|-
| 2004
| 2004 Spike Video Game Awards
| Host/Himself
| TV special
|-
| 2006
| Weeds
| Himself
| Episode: "MILF Money"
|-
| 2007–2009
| Snoop Dogg's Father Hood
| Himself
| 2 seasons, 18 episodes
|-
| 2007
| Monk
| Russel “Murderuss“ Kray
| Episode: "Mr. Monk and the Rapper"
|-
| 2008, 2010, 2013
| One Life to Live
| Himself
| 3 episodesWrote and produced theme song
|-
| 2009
| Dogg After Dark
| Himself
| 1 season, 7 episodes
|-
| 2009; 2015
| WWE Raw
| Host/Himself
| TV special
|-
| 2010
| The Boondocks
| Macktastic
| Episode: "Bitches to Rags"
|-
| 2010
| Big Time Rush
| Himself
| Episode: "Big Time Christmas"
|-
| 2011
| 90210| Himself
| Episode: "Blue Naomi"
|-
| 2011
| The Cleveland Show| Himself
| Episode: "Back to Cool"
|-
| 2014
| Love & Hip Hop: Atlanta| Himself
| Guest appearance
|-
| 2014
| Love & Hip Hop: Hollywood| Himself
| Guest appearance
|-
| 2015
| Snoop & Son, a Dad's Dream| Himself
| 1 season, 5 episodes
|-
| 2015
| Sanjay and Craig| Street Dogg
| Episode: "Street Dogg"
|-
| 2015
| Show Me the Money 4| Himself
| Episode 4
|-
| 2016–2017
| Trailer Park Boys| Himself
| 5 episodes
|-
| 2016
| Lip Sync Battle| Himself
| Episode: "Snoop Dogg vs Chris Paul"
|-
| 2016–present
| Martha & Snoop's Potluck Dinner Party| Himself
| Co-host
|-
| 2017
| The Simpsons| Himself
| Episode: "The Great Phatsby"
|-
| 2017
| Growing Up Hip Hop: Atlanta| Himself
| Guest appearances
|-
| 2017
| The Joker's Wild| Himself
| Host
|-
| 2018
| Coach Snoop| Himself
| All 8 Episodes of Netflix documentary
|-
| 2018
| Sugar| Himself
| Episode: "Snoop Dogg surprises a young father who is working to turn his life around".
|-
| 2019
| Law & Order: Special Victims Unit| P.T. Banks
| Episode: "Diss"
|-
| 2019
| American Dad!| Tommie Tokes
| Episode: "Jeff and the Dank Ass Weed Factory"
|-
| 2020
| F Is for Family| Rev. Sugar Squires
| Voice; episode: "R is For Rosie"
|-
| 2020
| Utopia Falls| The Archive
| Series regular
|-
| 2020
| Mariah Carey's Magical Christmas Special| Himself
| Television special
|-
| 2021
| The Voice| Himself
| Knockout Mega Mentor
|-
| 2021
| Black Mafia Family| Pastor Swift
|
|-
| 2022
| Phat Tuesdays: The Era of Hip Hop Comedy| Himself
| Documentary series
|}
Awards and legacy
Broadus was also a judge for the 7th annual Independent Music Awards to support independent artists' careers. He received the BMI Icon Award in 2011. The Washington Post, Billboard, and NME have called him a "West Coast icon"; and Press-Telegram, "an icon of gangsta rap". In 2006, Vibe magazine called him "The King of the West Coast". The Guardians Rob Fitzpatrick has credited his album Doggystyle'' for proving that rappers "could reinvent themselves", expanding rap's vocabulary, changing hip-hop fashions, and helping introduce a hip-hop genre called G-funk to a new generation. The album has been cited as an influence by rapper Kendrick Lamar, while fellow rappers ScHoolboy Q and Maxo Kream have also cited him as an influence. ABC website's Paul Donoughue has credited him among the 1990s acts that took hip-hop into the pop music charts.
Snoop Dogg acquired Death Row Records in February 2022 from the Blackstone-controlled company MNRK Music Group.
Notes
References
Further reading
External links
Official social media links
Snoop Dogg on Instagram. Archived from the original
Snoop Dogg on Spotify
Dogg on YouTube
1971 births
20th-century African-American male singers
20th-century American businesspeople
20th-century American male actors
20th-century American rappers
20th-century American singers
21st-century African-American male singers
21st-century American businesspeople
21st-century American male actors
21st-century American rappers
21st-century American singers
213 (group) members
African-American Christians
African-American film producers
African-American game show hosts
African-American investors
African-American male actors
African-American male rappers
African-American male singer-songwriters
African-American record producers
African-American television directors
African-American television personalities
African-American television producers
American businesspeople convicted of crimes
American cannabis activists
American film producers
American former Muslims
American game show hosts
American hip hop record producers
American hip hop singers
American investors
American male film actors
American male rappers
American male singer-songwriters
American male television actors
American male voice actors
American media company founders
American music industry executives
American music video directors
American online publication editors
American people convicted of drug offenses
American reality television producers
American reggae musicians
American television directors
Businesspeople from Los Angeles
Businesspeople in the cannabis industry
Cannabis music
Converts to Christianity from Islam
Converts to the Rastafari movement
Crips
Death Row Records artists
Film producers from California
Former Nation of Islam members
Former Rastafarians
Gangsta rappers
G-funk artists
Living people
Male actors from California
Male actors from Los Angeles
Mount Westmore members
MTV Europe Music Award winners
Musicians from Long Beach, California
No Limit Records artists
Participants in American reality television series
People acquitted of murder
Priority Records artists
Rappers from Los Angeles
Record producers from California
Record producers from Los Angeles
Reggae fusion artists
Singers from Los Angeles
Singer-songwriters from California
Television producers from California
Twitch (service) streamers
West Coast hip hop musicians
WWE Hall of Fame inductees | false | [
"7 Days of Funk is the eponymous debut studio album by California-based funk duo 7 Days of Funk, consisting of rapper Snoop Dogg—performing under his funk persona Snoopzilla—and modern-funk musician Dâm-Funk. The album was released on December 10, 2013 by Stones Throw Records and is Snoop's first project with a single producer since his landmark 1993 debut album, Doggystyle. Recording sessions for the album took place in 2013 at The Compound and at Funkmosphere Lab in Los Angeles, and the mastering was performed at Bernie Grundman Mastering in Hollywood.\n\nGuest appearances on the album include Tha Dogg Pound members Daz Dillinger and Kurupt, and former Slave frontman Steve Arrington. The album was supported by the single \"Faden Away\", followed by the promotional single \"Hit Da Pavement\". 7 Days of Funk was met with generally positive reviews from music critics with an average score of 74 at Metacritic, based on 19 reviews. It was named in HipHopDX's list of top 25 albums of 2013.\n\nBackground\nCalvin \"Snoopzilla\" Broadus and Damon \"Dâm-Funk\" Riddick met in Los Angeles on February 16, 2011 at the opening of The Dogg House—an exhibition of Snoop-inspired artwork—when the latter performed at a gallery party thrown for Joe Cool, the illustrator behind the cover artwork to several Snoop records including his semminal 1993 debut album, Doggystyle. Impressed by Dâm's P-Funk-inspired beats, Snoop grabbed the microphone and freestyled for more than an hour. \"It felt like magic,\" Snoop recalls. After the initial meeting, the two paired when the rapper invited the funk musician to play keyboard and keytar onstage for a performance at Funk n Soul Extravaganza at the SXSW Music Festival on March 19, 2011. They forged a mutual admiration; then unexpectedly, Snoop sent Dâm a cryptic SoundCloud message: \"I need some of that heat.\" For Stones Throw Records founder Chris \"Peanut Butter Wolf\" Manak, \"It made perfect sense for them to [collaborate]. They're approximately the same age, and they both [represent] Los Angeles funk the hardest.\"\n\nIn an October 2013 interview with Rolling Stone, Snoop commented on their collaboration, saying \"We're the babies of the Mothership. I've had funk influences in my music my whole career. Dâm-Funk is cold. He's keeping the funk alive and I knew I had to get down with him.\" Dâm-Funk echoed Snoop's sentiments as he elaborated: \"These beats were made for him and he laid down some of the smoothest harmonies and melodies I've ever heard. It's hip-hop, but you can also hear what we grew up on, from Zapp to Evelyn \"Champagne\" King and Patrice Rushen.\"\n\nSnoop also spoke about re-branding himself as Snoopzilla for this project, which pays homage to Funkadelic maestro Bootsy Collins who sometimes uses the monikers Bootzilla as well as Zillatron, saying \"When I'm recording as Snoopzilla, I'm basically an offspring of Bootsy [Collins]. We're keeping that spirit alive with that tone, that delivery, that R&B/funk singing, like Rick James and Steve Arrington. And on this EP, I was on some relationship shit: being tired of the one that I'm with and trying to be with the one that I'm with—shit where I'm questioning the one that I love. I'm not even talking about nobody personally. Is it music? Is it my wife? I'm questioning something! I don't even know what the fuck it is. As time goes by, I get a clearer vision on why I'm saying what I said, because some of these songs are really affecting me right now emotionally. They were just songs I did out of the spirit of having fun, but when I write shit, it comes to motherfucking life.\"\n\nRecording and production\n\n7 Days of Funk was recorded in Los Angeles in 2013 by Shon Lawon at The Compound, except \"Hit Da Pavement\" which was recorded by Dâm-Funk at Funkmosphere Lab. The album, mixed by Cole M.G.N. and Shon Lawon, with additional engineering by Frank Vasquez, was mastered at Bernie Grundman Mastering in Hollywood by Brian \"Big Bass\" Gardner. The album features guest appearances from Snoop's Tha Dogg Pound cohorts Daz Dillinger and Kurupt, as well as drummer-vocalist Steve Arrington. According to Dâm-Funk, other artists including rapper Tyler, The Creator wanted to be involved on the project, but time ran out. All songs are produced by Dâm-Funk and feature background vocals from Shan Lawon and Val Young.\n\nThe album opener, \"Hit Da Pavement\", which features additional vocals from Bootsy Collins, was the first track 7 Days of Funk recorded. In an interview for Pitchfork, Dâm-Funk expressed that \"the energy was so explosive\" with \"Hit Da Pavement\" and that he was impressed by Snoopzilla's work ethic. \"[Snoop] came to the pad at 10 p.m. and we were done at midnight. He killed it. His work ethic is stupid, man. I've never seen anything like it. I was [in] New York, in A1 [Record Shop] just listening to some records, and Snoop calls, like, 'Hey man, you need to check this out, check your email.' Four hours later I'm at the club, and he's like, 'Hey man, check these out, two more done.' He was just smashing them. When you're inspired by something, that's how you do it.\"\n\nDâm-Funk created the music, and Snoopzilla came up with the vocals, then Dâm took it from there. \"I was like, 'I'm letting Dam-Funk produce me, so produce me',\" Snoop explained during an interview with Spin. \"That's what the project was all about – him having the comfort zone of doing what he do, with no 'Hey man, we've got to get this done by this date.' No pressure, no dates, no nothing. We worked when we wanted to work and made what we wanted to make.\" Dâm-Funk gave Snoopzilla creative freedom on each song. \"I just left it up to Snoop,\" he told HipHopDX. \"I mean he was in charge of all of that. He really did a good job. And it was like a telepathic type of vibe, where I didn't have to say too much or anything at all. It's like he just handled it and knew where to put different nuances in and place the cadences. His rhythm matches everything I wanna hear on a track. So it worked out beautifully.\"\n\nSnoopzilla explained that he and Dâm made the album only thirty-four minutes in length because it would induce the listener to want more. \"We just be looking at it like it's only 34 minutes of music. That's all we gave up was 34 minutes. But it's 34 minutes of quality music, good music. Babygirl that [did an] interview with me, she was like, 'That music reminds me of a big hug. I could just play it from top to bottom.' There's a lot of albums you can't play from top to bottom anymore, you gotta go to your favorite song and go back and go forward. This record you could play from top to bottom. And it's 34 minutes, so by the time you get to where you going, it just started all over again, and you back riding again.\"\n\nTitle and artwork\nAccording to Snoop, the album title, 7 Days of Funk, refers to the amount of time it took to create the project. \"Seven songs. And seven days to find the funk,\" he said during an interview with Spin. \"You only get seven days in a week, but you found that funk, so you can continue. You can funk for another seven days. You can funk until the end of time. But those seven days are what's important. We just going one week at a time, and we trying to make sure we handle you on every day of that week. With the funk.\" Dâm explained to Life+Times that 7 Days of Funk is self-explanatory. \"Just imagine living seven days of funk. That's what your life, what you're living and breathing. There's only seven days in a week, so what's after that? Another seven days of funk.\"\n\nDirected by Stones Throw cover artist Jeff Jank, the album artwork is drawn by Lawrence \"Raw Dawg\" Hubbard, co-founder and artist behind Los Angeles cult magazine, Real Deal Comix. The vinyl LP edition features a wrap-around drawing showing the front and back of a theater. Snoopzilla and Dâm-Funk are hanging out in front of their low rider—a time machine, in fact—with some thuggish throw-down happening at the theater doors. On the back, there is paparazzi, drunks and prostitutes.\n\nPromotion\nOn October 15, 2013, Stones Throw published on YouTube the behind-the-scenes of 7 Days of Funk's jam session at Funkmosphere Lab in which an early version of \"Hit Da Pavement\" and \"Wingz\" were previewed. On October 21, 2013, the Southern California duo performed \"Faden Away\" on Jimmy Kimmel Live!, along with another song from the album entitled \"Do My Thang\". For promotional purposes, 7 Days of Funk was made available to stream on December 1, 2013, via NPR Music until the album's release. Stones Throw released \"Hit Da Pavement\" and \"Faden Away\" together on a cassingle on December 10, 2013, with both vocal and instrumental versions. The cassette was given away exclusively with the first week's orders of the LP and 45 box set. The 45 box set was released on February 5, 2014 with a total of eight records with sixteen tracks: each song on the album released on 7-inch single, backed with its instrumental version. The box includes the bonus record \"Wingz\"—not available on any other format—with A-side \"Systematic\". Purchase of the box set comes with a digital download of the original 8-track album and a 7 Days of Funk sticker.\n\nOn December 9, 2013, Rdio published on YouTube a 1980s VHS-quality promotional video created by Golden Wolf—an animation production company—featuring Dâm-Funk and Snoopzilla as Muppets-inspired marionettes performing their song \"Do My Thang\". 7 Days of Funk—including the exclusive bonus track \"Wingz\"—was streaming exclusively on Rdio on December 9 until December 24. On December 9, 2013, the duo performed \"Faden Away\" on Conan, and The Queen Latifah Show on the following day. The album was officially released on LP, CD and digital download formats on December 10, 2013. On the same day, the music video for \"Hit Da Pavement\" premiered on 7 Days of Funk's VEVO. By evening, Dâm-Funk and Snoopzilla celebrated the release of 7 Days of Funk at the Exchange Night Club in Los Angeles, performing live with Peanut Butter Wolf (host), Egyptian Lover, Bootsy Collins, Steve Arrington and special guests. On January 15, 2014, the music video was released for \"I'll Be There 4U\". On February 26, 2014, the music video was released for \"Do My Thang\".\n\nSingles\nThe lead single, \"Faden Away\", premiered on October 8, 2013 on Stones Throw Records' SoundCloud page and was made available at the Stones Throw Store and iTunes Music Store on October 15, 2013. On November 5, 2013, the music video was released for the track. 7 Days of Funk named \"Faden Away\" as their favorite song on the album.\n\nCritical reception\n\n7 Days of Funk received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 74, based on 19 reviews. Matt Bauer of Exclaim! praised the album, and commented that \"Apart from a generic cameo from Kurupt on 'Ride', 7 Days of Funk is an infectious, modern take on the funk genre – here's hoping that Snoopzilla and Dâm-Funk will collaborate again.\" HipHopDX reviewer Jessica Rew praised 7 Days of Funk, believing the collection features Dâm-Funk's best production work to date and viewed it as \"Snoop's most enjoyable album in years\". Chisom Uzosike of XXL, who awarded the album an \"XL\" rating, shared a similar sentiment and expressed that \"George Clinton would be proud of this fresh take on funk music.\" Phil Hebblethwaite of NME describes the album as \"a groove and a mood piece; a funk report for the ages and the future – and, after less than 40 minutes (including the bonus tracks), it drops out of space at exactly the right moment.\" Ron Hart of Blurt Magazine expressed that despite the name of the project being 7 Days of Funk, \"there's enough groove in this [record] to last a lifetime.\"\n\nDavid Jeffries of AllMusic compared the album to Snoop Lion's reggae effort Reincarnated (2013), commenting that 7 Days of Funk \"is pleasingly loose and small\" unlike Reincarnated \"which seemed to trip over its own overambition\". In conclusion, he wrote that \"Even if this is Snoop's first album with a single producer since the monolithic, Dr. Dre-helmed Doggystyle, don't call it a comeback, call it lark, and a funky, welcome one at that.\" Andy Beta of Spin felt that \"7 Days acts as the inverse of The Chronic,\" elaborating that in the latter \"a famous hip-hop producer introduced the world to an up-and-coming MC weaned on P-Funk and George Duke now, it's a pop-cultural hip-hop icon giving a bit of shine to an adept indie producer who can elicit all strains of funk in this 21st-century Zone of Zero Funkativity.\" Dave Heaton of PopMatters claimed that \"A laidback funk groove is the essence of 7 Days of Funk, with Snoopzilla's vocals taking his relaxed approach to its full. […] To say Dâm-Funk is engineering a new kind of funk would be a misstatement; to say he has a keen sense for the atmosphere as well as the rhythms of funk, an understanding of what really makes for a classic funk track, would be an understatement.\" Pitchfork writer Nate Patrin wrote that \"It's a strong mode to be in, but 7 Days of Funk doesn't change or challenge things—it's a brief LP, even accounting for bonus tracks, and with everybody firmly in a comfortable lane there's not much surprise.\"\n\nIn a mixed review, Rolling Stones Mike Powell felt that \"While Snoop's voice is an easy match for the sound—both are low-key but hard-hitting—most of the tracks don't quite cohere.\" Brian Josephs of Consequence of Sound also provided a mixed review, calling 7 Days of Funk a \"slog through shallow percussion (especially in the amateurish drum pattern on the Kurupt-featuring 'Ride') and drowsy synthwork\". The reviewer described the duo's productivity as \"the musical equivalent to two longtime friends spending a Saturday afternoon on the couch\". Chase Woodruff, writer for Slant Magazine, wrote that \"No amount of pitch correction and filtering can change the fact that Calvin Broadus, no matter what he calls himself, can't sing, and 7 Days of Funk is as lyrically empty an album as you'll hear this year; any message it may have is exclusively vibe-based. But it's a welcome sign of life from an MC who many assumed to be over the hill, and where it fails, it fails on its own terms—and that's a kind of success in itself.\"\n\nTrack listing\n\nNotes\nAll tracks are produced by Dâm-Funk.\n\"Hit Da Pavement\" features additional vocals from Bootsy Collins.\n\nPersonnel\nCredits for 7 Days of Funk adapted from AllMusic and from the album liner notes.\n\n 7 Days of Funk – primary artist\n Delmar \"Daz Dillinger\" Arnaud – composer\n Steve Arrington – composer, featured artist\n Kevin Barkey – management (Snoopzilla)\n Calvin \"Snoopzilla\" Broadus – composer, executive producer, vocals\n Ricardo \"Kurupt\" Brown – composer, featured artist\n Ted Chung – management (Snoopzilla)\n Cole M.G.N. – mixing\n Bootsy Collins – vocals [additional]\n Tha Dogg Pound – featured artist\n Brian \"Big Bass\" Gardner – mastering\n Wes Harden – management (Dâm-Funk)\n Lawrence Hubbard – cover illustration\n Jeff Jank – art direction\n Shon Lawon – engineer, mixing, vocals [background]\n Damon \"Dâm-Funk\" Riddick – engineer, instrumentation, producer\n Patrice Rushen – composer\n Brent Smith – booking\n Frank Vasquez – A&R, engineer\n Freddie Washington – composer\n Val Young – vocals [background]\n\nChart positions\n\nRelease history\n\nReferences\n\n2013 debut albums\nSnoop Dogg albums\nStones Throw Records albums\nFunk albums by American artists\nG-funk albums\nDâm-Funk albums\nCollaborative albums",
"7 Days of Funk was an American funk duo from Long Beach, California composed of rapper Snoopzilla—known professionally as Snoop Dogg—and modern-funk musician Dâm-Funk. The eponymous debut studio album was released on December 10, 2013 by Stones Throw Records.\n\nDiscography\n\nStudio albums\n 7 Days of Funk (2013)\n\nReferences\n\nSnoop Dogg\nMusical groups from Los Angeles\nRappers from Los Angeles\nMusical groups established in 2013\nAmerican musical duos\nAfrican-American musical groups\nAmerican hip hop groups\nStones Throw Records artists\nG-funk groups\n2013 establishments in California"
]
|
[
"Snoop Dogg",
"2012-13: Reincarnated and 7 Days of Funk",
"What happened in 2012-13?",
"On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album",
"What was the documentary about?",
"The film was released March 21, 2013 with the album slated for release",
"Did the film get good reviews?",
"I don't know.",
"What was 7 days of funk?",
"Snoop formed a funk duo with musician Dam-Funk called 7 Days of Funk"
]
| C_f4a48950757d43dab26bdc5d8444890b_1 | When was the album released? | 5 | When was 7 Days of Funk released? | Snoop Dogg | Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told that year. His other albums from No Limit were No Limit Top Dogg in 1999 (selling over 1,503,865 copies) and Tha Last Meal in 2000 (selling over 2,000,000). In 1999, his autobiography, Tha Doggfather, was published. In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, with it selling over 1,300,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image. In 2004, Snoop signed to Geffen Records/Star Trak Entertainment both of which were distributed through Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,724,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released album The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor", along with fellow rappers Lil Jon, Xzibit, and David Banner, Snoop Dogg's appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including the single "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. Also, his latest song, "Real Talk", was leaked over the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was a dedication to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the Governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio. Snoop's 2006 album, Tha Blue Carpet Treatment, debuted on the Billboard 200 at No.5 and has sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers for his single "Candy (Drippin' Like Water)". In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone prior to its release as a single, which was "It's the D.O.G.". On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie Singh Is Kinng; the title of the song is also "Singh is Kinng". He also appears in the movie as himself. The album featuring the song was released on June 8, 2008 on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy). Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice. Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 11, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010 as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain. Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' latest album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko. On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013 with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album, "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times". On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafarian priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena. In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic--they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound. In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dam-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013. CANNOTANSWER | December 10, 2013. | Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg (previously Snoop Doggy Dogg and briefly Snoop Lion), is an American rapper, songwriter, media personality, actor, and entrepreneur. His fame dates to 1992 when he featured on Dr. Dre's debut solo single, "Deep Cover", and then on Dre's debut solo album, The Chronic. Broadus has since sold over 23 million albums in the United States and 35 million albums worldwide.
Broadus' debut solo album, Doggystyle, produced by Dr. Dre, was released by Death Row Records in November 1993, and debuted at number one on the popular albums chart, the Billboard 200, and on Billboards Top R&B/Hip-Hop Albums chart. Selling 800,000 copies in its first week, Doggystyle was certified quadruple-platinum in 1994 and bore several hit singles, including "What's My Name?" and "Gin and Juice". In 1994, Death Row Records released a soundtrack, by Broadus, for the short film Murder Was the Case, starring Snoop. In 1996, his second album, Tha Doggfather, also debuted at number one on both charts, with "Snoop's Upside Ya Head" as the lead single. The next year, the album was certified double-platinum.
After leaving Death Row Records in January 1998, Broadus signed with No Limit Records, releasing three Snoop albums: Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). In 2002, he signed with Priority/Capitol/EMI Records, releasing Paid tha Cost to Be da Boss. In 2004, he signed to Geffen Records, releasing his next three albums: R&G (Rhythm & Gangsta): The Masterpiece, then Tha Blue Carpet Treatment, and Ego Trippin'. Priority Records released his album Malice 'n Wonderland during 2009, followed by Doggumentary during 2011. Snoop Dogg has starred in motion pictures and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. He also coaches a youth football league and high-school football team. In September 2009, EMI hired him as the chairman of a reactivated Priority Records.
In 2012, after a trip to Jamaica, Broadus announced a conversion to Rastafari and a new alias, Snoop Lion. As Snoop Lion he released a reggae album, Reincarnated, and a documentary film of the same name, about his Jamaican experience, in early 2013. His 13th studio album, Bush, was released in May 2015 and marked a return of the Snoop Dogg name. His 14th solo studio album, Coolaid, was released in July 2016. In March 2016, the night before WrestleMania 32 in Arlington, Texas, he was inducted into the celebrity wing of the WWE Hall of Fame, having made several appearances for the company, including as master of ceremonies during a match at WrestleMania XXIV. In 2018, Snoop announced that he was "a born-again Christian" and released his first gospel album Bible of Love. On November 19, 2018, Snoop Dogg was given a star on the Hollywood Walk of Fame. He released his seventeenth solo album, I Wanna Thank Me, in 2019. In 2022, Snoop Dogg acquired Death Row Records from MNRK Music Group (formerly known as eOne Music), and released his 20th studio album, BODR. Snoop has had 17 Grammy nominations without a win.
Early life
Calvin Cordozar Broadus Jr. was born on October 20, 1971, in Long Beach, California to Vernell Varnado and Beverly Tate. Vernell, who was a Vietnam War veteran, singer, and mail carrier, left the family only three months after his birth, and thus he was named after his stepfather, Calvin Cordozar Broadus Sr. (1948–1985). His father remained largely absent from his life. As a boy, his parents nicknamed him "Snoopy" due to his love and likeness of the cartoon character from Peanuts. He was the second of his mother's three sons. His mother and stepfather divorced in 1975. When Broadus was very young, he began singing and playing piano at the Golgotha Trinity Baptist Church. In sixth grade, he began rapping. As a child, Broadus sold candy, delivered newspapers, and bagged groceries to help his family make ends meet. He was described as having been a dedicated student and enthusiastic churchgoer, active in choir and football. Broadus said in 1993 that he began engaging in unlawful activities and joining gangs in his teenage years, despite his mother's preventative efforts.
Broadus would frequently rap in school. As he recalled: "When I rapped in the hallways at school I would draw such a big crowd that the principal would think there was a fight going on. It made me begin to realize that I had a gift. I could tell that my raps interested people and that made me interested in myself."
As a teenager, Broadus frequently ran into trouble with the law. He was a member of the Rollin' 20s Crips gang in the Eastside neighborhood of Long Beach; although in 1993 he denied the frequent police and media reports by saying that he never joined a gang. Shortly after graduating from high school at Long Beach Polytechnic High School in 1989, he was arrested for possession of cocaine, and for the next three years, was frequently incarcerated, including at Wayside Jail. With his two cousins, Nate Dogg and Lil' ½ Dead, and friend Warren G, Snoop recorded homemade tapes; the four called their group 213 after the area code of their native Long Beach at that time. One of Snoop's early solo freestyles over "Hold On" by En Vogue was on a mixtape that fortuitously wound up with Dr. Dre; the influential producer was so impressed by the sample that he called Snoop to audition. Former N.W.A affiliate The D.O.C. taught him to structure his lyrics and separate the themes into verses, hooks, and choruses.
Musical career
1992–1998: Death Row, Doggystyle, and Tha Doggfather
When he began recording, Broadus took the stage name Snoop Doggy Dogg. Dr. Dre began working with him, first on the theme song of the 1992 film Deep Cover and then on Dr. Dre's debut solo album The Chronic along with the other members of his former starting group, Tha Dogg Pound. This intense exposure played a considerable part in making Snoop Dogg's debut album, Doggystyle, the critical and commercial success that it was.
Fueling the ascendance of West Coast G-funk hip hop, the singles "Who Am I (What's My Name)?" and "Gin and Juice" reached the top ten most-played songs in the United States, and the album stayed on the Billboard charts for several months. Gangsta rap became the center of arguments about censorship and labeling, with Snoop Dogg often used as an example of violent and misogynistic musicians. Unlike much of the harder-edged gangsta rap artists, Snoop Dogg seemed to show his softer side, according to music journalist Chuck Philips. Rolling Stone music critic Touré asserted that Snoop had a relatively soft vocal delivery compared to other rappers: "Snoop's vocal style is part of what distinguishes him: where many rappers scream, figuratively and literally, he speaks softly." Doggystyle, much like The Chronic, featured a host of rappers signed to or affiliated with the Death Row label including Daz Dillinger, Kurupt, Nate Dogg, and others.
In 1993, Snoop Dogg was charged with first-degree murder for the shooting of Philip Woldermariam, a member of a rival gang who was actually killed by Snoop’s bodyguard, McKinley Lee, aka Malik. Broadus was acquitted on February 20, 1996. According to Broadus, after he was acquitted he did not want to continue living the "gangsta" lifestyle, because he felt that continuing his behavior would result in his assassination or a prison term. A short film about Snoop Dogg's murder trial, Murder Was the Case, was released in 1994, along with an accompanying soundtrack. On July 6, 1995, Doggy Style Records, Inc., a record label founded by Snoop Dogg, was registered with the California Secretary of State as business entity number C1923139.
After his acquittal, he, the mother of his son, and their kennel of 20 pit bulls moved into a home in the hills of Claremont, California and by August 1996 Doggy Style Records, a subsidiary of Death Row Records, signed the Gap Band Charlie Wilson as one of its first artists. He collaborated with fellow rap artist Tupac Shakur on the 1996 single "2 of Amerikaz Most Wanted". This was one of Shakur's last songs while alive; he was shot on September 7, 1996, in Las Vegas, dying six days later.
By the time Snoop Dogg's second album, Tha Doggfather, was released in November 1996, the price of appearing to live the gangsta life had become very evident. Among the many notable hip hop industry deaths and convictions were the death of Snoop Dogg's friend and labelmate Tupac Shakur and the racketeering indictment of Death Row co-founder Suge Knight. Dr. Dre had left Death Row earlier in 1996 because of a contract dispute, so Snoop Dogg co-produced Tha Doggfather with Daz Dillinger and DJ Pooh.
This album featured a distinct change of style from Doggystyle, and the leadoff single, "Snoop's Upside Ya Head", featured a collaboration with Charlie Wilson The album sold reasonably well but was not as successful as its predecessor. Tha Doggfather had a somewhat softer approach to the G-funk style. After Dr. Dre withdrew from Death Row Records, Snoop realized that he was subject to an ironclad time-based contract (i.e., that Death Row practically owned anything he produced for a number of years), and refused to produce any more tracks for Suge Knight other than the insulting "Fuck Death Row" until his contract expired. In an interview with Neil Strauss in 1998, Snoop Dogg said that though he had been given lavish gifts by his former label, they had withheld his royalty payments.
Stephen Thomas Erlewine of Allmusic said that after Tha Doggfather, Snoop Dogg began "moving away from his gangsta roots toward a calmer lyrical aesthetic": for instance, Snoop participated in the 1997 Lollapalooza concert tour, which featured mainly alternative rock music. Troy J. Augusto of Variety noticed that Snoop's set at Lollapalooza attracted "much dancing, and, strangely, even a small mosh pit" in the audience.
1998–2006: Signing with No Limit and continued success
Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in March 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told later that year. He said at the time that "Snoop Dogg is universal so he can fit into any camp-especially a camp that knows how to handmake shit[;] [a]nd, No Limit hand makes material. They make material fittin' to the artist and they know what type of shit Snoop Dogg is supposed to be on. That's why it's so tight." [sic] His other albums on No Limit were No Limit Top Dogg in 1999 (selling over 1,510,000 copies) and Tha Last Meal in 2000 (selling over 2,100,000). In 1999, his autobiography, Tha Doggfather, was published.
In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, selling over 1,310,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image.
In June 2004, Snoop signed to Geffen Records/Star Trak Entertainment, both distributed by Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,730,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included the single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor" along with fellow rappers Lil Jon, Xzibit, and David Banner,
Snoop Dogg appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. His song "Real Talk" was leaked on the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was dedicated to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio.
Snoop's 2006 album Tha Blue Carpet Treatment debuted on the Billboard 200 at No.5 and sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers on the single "Candy (Drippin' Like Water)".
2007–2012: Ego Trippin', Malice n Wonderland and Doggumentary
In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone before its release as a single, "It's the D.O.G." On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie, Singh Is Kinng; the song title is also "Singh is Kinng". He appears in the movie as himself. The album featuring the song was released on June 8, 2008, on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy).
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice.
Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 7, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010, as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain.
Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko.
2012–2013: Reincarnated and 7 Days of Funk
On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released March 21, 2013, with the album slated for release April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album: "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times".
On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafari priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena.
In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic—they only know one thing: make music that's timeless and bangs." In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound.
In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I've been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dâm-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013.
2014–2017: Bush, Coolaid, and Neva Left
In August 2014, a clip surfaced online featuring a sneak preview of a song Snoop had recorded for Pharrell. Snoop's Pharrell Williams-produced album Bush was released on May 12, 2015, with the first single "Peaches N Cream" having been released on March 10, 2015.
On June 13, 2016, Snoop Dogg announced the release date for his album Coolaid, which was released on July 1, 2016. He headlined a "unity party" for donors at Philly's Electric Factory on July 28, 2016, the last day of the Democratic National Convention. Released March 1, 2017, through his own Doggy Style Records, "Promise You This" precedes the release of his upcoming Coolaid film based on the album of the same name. Snoop Dogg released his fifteenth studio album Neva Left in May 2017.
2018–2021: Bible of Love, I Wanna Thank Me, and From tha Streets 2 tha Suites
He released a gospel album titled Bible of Love on March 16, 2018. Snoop was featured on Gorillaz' latest album The Now Now on a track called: "Hollywood" with Jamie Principle. In November 2018, Snoop Dogg announced plans for his Puff Puff Pass tour, which features Bone Thugs-n-Harmony, Too $hort, Warren G, Kurupt, and others. The tour ran from November 24 to January 5.
Snoop Dogg was featured on Lil Dicky's April 2019 single "Earth", where he played the role of a marijuana plant in both the song's lyrics and animated video. Snoop Dogg was among hundreds of artists whose material was destroyed in the 2008 Universal fire. On July 3, 2019, Snoop Dogg released the title track from his upcoming 17th studio album, I Wanna Thank Me. The album was released on August 16, 2019. Snoop Dogg collaborated with Vietnamese singer Son Tung M-TP in "Hãy trao cho anh" ("Give it to Me"), which was officially released on July 1, 2019. As of October 3, 2019, the music video has amassed over 158 million views on YouTube.
Early in 2020, it was announced that Snoop had rescheduled his tour in support of his I Wanna Thank You album and documentary of the same name. The tour has been rescheduled to commence in February 2021. In May 2020, Snoop released the song "Que Maldicion", a collaboration with Banda Sinaloense de Sergio Lizarraga, peaking at number one on the Billboard Bubbling Under Hot 100.
On April 20, 2021, Snoop Dogg released his eighteenth studio album From tha Streets 2 tha Suites. It was announced on April 7, 2021, via Instagram. The album received generally positive reviews from critics.
During an interview on the September 27 airing of The Tonight Show Starring Jimmy Fallon, Snoop Dogg announced Algorithm. The album was released on November 19, 2021.
2022-present: Super Bowl Halftime Show performance and BODR
Snoop Dogg performed at the Super Bowl LVI Halftime Show alongside Dr. Dre, Eminem, Mary J. Blige, and Kendrick Lamar.
In January 2022, Snoop Dogg announced that he would release his 19th studio album, BODR, on the same day as his Super Bowl Halftime Show performance. However, the album's release was pushed forward two days and was released on February 11, 2022.
On , Snoop Dogg announced that he is officially in charge at Death Row Records.
Other ventures
Broadus has appeared in numerous films and television episodes throughout his career. His starring roles in film includes The Wash (with Dr. Dre) and the horror film Bones. He also co-starred with rapper Wiz Khalifa in the 2012 movie Mac and Devin Go to High School which a sequel has been announced. He has had various supporting and cameo roles in film, including Half Baked, Training Day, Starsky & Hutch, and Brüno.
He has starred in three television programs: sketch-comedy show Doggy Fizzle Televizzle, variety show Dogg After Dark, and reality show Snoop Dogg's Father Hood (also starring Snoop's wife and children). He has starred in episodes of King of the Hill, Las Vegas, and Monk, one episode of Robot Chicken, as well as three episodes of One Life to Live. He has participated in three Comedy Central Roasts, for Flavor Flav, Donald Trump, and Justin Bieber. Cameo television appearances include episodes of The L Word, Weeds, Entourage, I Get That a Lot, Monk, and The Price Is Right. He has also appeared in an episode of the YouTube video series, Epic Rap Battles of History as Moses.
In 2000, Broadus (as "Michael J. Corleone") directed Snoop Dogg's Doggystyle, a pornographic film produced by Hustler. The film, combining hip hop with x-rated material, was a huge success and won "Top Selling Release of the Year" at the 2002 AVN Awards. Snoop then directed Snoop Dogg's Hustlaz: Diary of a Pimp in 2002 (using the nickname "Snoop Scorsese").
Broadus founded his own production company, Snoopadelic Films, in 2005. Their debut film was Boss'n Up, a film inspired by Snoop Dogg's album R&G, starring Lil Jon and Trina.
On March 30, 2008, he appeared at WrestleMania XXIV as a Master of Ceremonies for a tag team match between Maria and Ashley Massaro as they took on Beth Phoenix and Melina. At WrestleMania 32, he accompanied his cousin Sasha Banks to the ring for her match, rapping over her theme music. He was also inducted into the WWE Hall of Fame in 2016.
In December 2013, Broadus performed at the annual Kennedy Center Honors concert, honoring jazz pianist Herbie Hancock. After his performance, Snoop credited Hancock with "inventing hip-hop".
On several occasions, Broadus has appeared at the Players Ball in support of Bishop Don Magic Juan. Juan appeared on Snoop's videos for "Boss Playa", "A.D.I.D.A.C.", "P.I.M.P. (Remix)", "Nuthin' Without Me" and "A Pimp's Christmas Song".
In January 2016, a Change.org petition was created in the hopes of having Broadus narrate the entire Planet Earth series. The petition comes after Snoop narrated a number of nature clips on Jimmy Kimmel Live!
In April 2016, Broadus performed "Straight outta Compton" and "Fuck tha Police" at Coachella, during a reunion of N.W.A. members Dr. Dre, Ice Cube and MC Ren.
He hosted a Basketball fundraiser "Hoops 4 Water" for Flint, Michigan. The event occurred on May 21, 2016, and was run by former Toronto Raptors star and Flint native Morris Peterson.
In the fall of 2016, VH1 premiered a new show featuring Broadus and his friend Martha Stewart at called Martha & Snoop's Potluck Dinner Party, featuring games, recipes, and musical guests. Broadus and Stewart also later starred together in a Super Bowl commercial for T-Mobile during Super Bowl LI in February 2017.
Broadus hosts a revival of The Joker's Wild, which spent its first two seasons on TBS before moving to TNT in January 2019. He is in the film, Sponge on the Run.
Broadus has also created a fried chicken recipe, with barbecue flavor potato chips as an added ingredient in the batter.
In early 2020, Broadus launched his debut wine release, under the name "Snoop Cali Red", in a partnership with the Australian wine brand, 19 Crimes. The red wine blend features Snoop's face on the label.
Broadus provided commentary for Mike Tyson vs. Roy Jones Jr., who some pundits described as having "won" the night through his colorful commentary and reactions. At one point, Snoop described Tyson and Jones as "like two of my uncles fighting at the barbecue"; he also began singing a hymn, Take My Hand, Precious Lord, during the undercard fight between Jake Paul and Nate Robinson, after Robinson was knocked down.
Broadus made a special guest appearance in All Elite Wrestling on the January 6, 2021, episode of AEW Dynamite, titled New Year's Smash. During this appearance, Snoop appeared in the corner of Cody Rhodes during Rhodes' match with Matt Sydal. He later gave Serpentico a Frog Splash, with Rhodes then delivering a three-count.
In June 2021, Snoop Dogg officially joined Def Jam Recordings as its new Executive Creative and Strategic Consultant, a role allowing him to strategically work across the label’s executive team and artist roster. His immediate focus was A&R and creative development, reporting to Universal Music Group Chairman & CEO Sir Lucian Grainge as well as Def Jam interim Chairman and CEO Jeffrey Harleston. On November 12, 2021, Snoop Dogg announced the signing of Benny the Butcher on Joe Rogan's podcast.
In February 2022, it was announced that Snoop Dogg had fully acquired Death Row Records from its previous owners, The MNRK Music Group (formerly eOne Music). The label was also revived when Snoop Dogg released his 20th album BODR.
Style and rap skills
Kool Moe Dee ranks Broadus at No. 33 in his book There's a God on the Mic, and says he has "an ultra-smooth, laidback delivery" and "flavor-filled melodic rhyming".
Peter Shapiro describes Broadus’ delivery as a "molasses drawl" and AllMusic notes his "drawled, laconic rhyming" style. Kool Moe Dee refers to Snoop's use of vocabulary, saying he "keeps it real simple...he simplifies it and he's effective in his simplicity".
Broadus is known to freestyle some of his lyrics on the spot – in the book How to Rap, Lady of Rage says, "When I worked with him earlier in his career, that's how created his stuff... he would freestyle, he wasn't a writer then, he was a freestyler", and The D.O.C. states, "Snoop's [rap] was a one take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busting. The song was "Tha Shiznit"—that was all freestyle. He started busting and when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then."
Peter Shapiro says that Broadus debuted on "Deep Cover" with a "shockingly original flow – which sounded like a Slick Rick born in South Carolina instead of South London" and adds that he "showed where his style came from by covering Slick Rick's 'La Di Da Di'". Referring to Snoop's flow, Kool Moe Dee calls him "one of the smoothest, funkiest flow-ers in the game". How to Rap also notes that Snoop is known to use syncopation in his flow to give it a laidback quality, as well as 'linking with rhythm' in his compound rhymes, using alliteration, and employing a "sparse" flow with good use of pauses.
Broadus popularized the use of -izzle speak particularly in the pop and hip-hop music industry. A type of infix, it first found popularity when used by Frankie Smith in his 1981 hit song Double Dutch Bus.
Broadus listed his favourite rap albums for Hip Hop Connection:
10. Mixmaster Spade, The Genius Is Back
9. Lauryn Hill, The Miseducation of Lauryn Hill
8. Ice Cube, Death Certificate
7. 2Pac, Me Against the World
6. The Notorious B.I.G., Ready to Die
5. N.W.A, Straight Outta Compton
4. Eric B. & Rakim, Paid in Full
3. Slick Rick, The Great Adventures of Slick Rick
2. Snoop Doggy Dogg, Doggystyle
1. Dr. Dre, The Chronic ("It's da illest shit")
Personal life
Snoop married his high school girlfriend, Shante Taylor, on June 12, 1997. On May 21, 2004, he filed for divorce from Taylor, citing irreconcilable differences. The couple however remarried on January 12, 2008. They have three children together: sons Cordé (born August 21, 1994) and Cordell (born February 21, 1997), who quit football to pursue a career as a film maker, and daughter Cori (born June 22, 1999). Snoop also has a son from a relationship with Laurie Holmond, Julian Corrie Broadus (born 1998). He is a first cousin of R&B singers Brandy and Ray J, and WWE professional wrestler Sasha Banks. In 2015 Snoop became a grandfather, as his eldest son, Cordé Broadus, had a son with his girlfriend, Jessica Kyzer. Cordé had another son, Kai, who died on September 25, 2019, ten days after birth.
Since the start of his career, Snoop has been an avowed cannabis smoker, making it one of the trademarks of his image. In 2002, he announced he was giving up cannabis for good; that did not last long (a situation famously referenced in the 2004 Adam Sandler movie 50 First Dates) and in 2013, he claimed to be smoking approximately 80 cannabis blunts a day. He has been certified for medical cannabis in California to treat migraines since at least 2007.
Snoop claimed in a 2006 interview with Rolling Stone magazine that unlike other hip hop artists who had superficially adopted the pimp persona, he was an actual professional pimp in 2003 and 2004, saying, "That shit was my natural calling and once I got involved with it, it became fun. It was like shootin' layups for me. I was makin' 'em every time."
On October 24, 2021, Snoop's mother, Beverly Tate, died.
Sports
Snoop is an avid sports fan, including hometown teams Los Angeles Dodgers, Los Angeles Lakers, and USC Trojans, as well as the Pittsburgh Steelers. He has stated that he began following the Steelers in the 1970s while watching the team with his grandfather. He is also a fan of the Las Vegas Raiders, Los Angeles Rams, and Dallas Cowboys, often wearing a No. 5 jersey, and has been seen at Raiders training camps. He has shown affection for the New England Patriots, having been seen performing at Gillette Stadium. He is an avid ice hockey fan, sporting jerseys from the NHL's Los Angeles Kings, Pittsburgh Penguins, Toronto Maple Leafs and the Boston Bruins as well at the AHL's Springfield Indians in his 1994 music video "Gin and Juice". Snoop has been seen attending Los Angeles Kings games. On his reality show Snoop Dogg's Father Hood, Snoop and his family received hockey lessons from the Anaheim Ducks, then returned to the Honda Center to cheer on the Ducks against the Vancouver Canucks in the episode "Snow in da Hood". Snoop appeared in the video game NHL 20 as both a guest commentator and a playable character in the "World of Chel" game mode.
Snoop is a certified football coach and has been head coach of his son Cordell's youth football teams. Cordell played wide receiver and defensive back at Bishop Gorman High School in Las Vegas, Nevada, Cordell played on the 2014 state championship team, and received football scholarship offers from Southern California, UCLA, Washington, Cal, Oregon State, Duke, and Notre Dame. Cordell committed and signed a letter of intent to play for UCLA on February 4, 2015. On August 14, 2015, UCLA announced that Cordell had left the UCLA football team "to pursue other passions in his life".
Since 2005, Snoop Dogg has been operating a youth football league in the Los Angeles area. He is a coach in the league, and one of the seasons he coached was documented in the Netflix documentary Coach Snoop.
Religion
In 2009, it was reported that Snoop was a member of the Nation of Islam. On March 1, he made an appearance at the Nation of Islam's annual Saviours' Day holiday, where he praised minister Louis Farrakhan. Snoop said he was a member of the Nation, but declined to give the date on which he joined. He also donated $1,000 to the organization.
Claiming to be "born again" in 2012, Snoop converted to the Rastafari movement, switched the focus of his music to reggae and changed his name to Snoop Lion after a trip to Jamaica. He released a reggae album, Reincarnated, saying, "I have always said I was Bob Marley reincarnated".
In January 2013, he received criticism from members of the Rastafari community in Jamaica, including reggae artist Bunny Wailer, for alleged failure to meet his commitments to the culture. Snoop later dismissed the claims, stating his beliefs were personal and not up for outside judgment.
After releasing Bible of Love in early 2018 and performing in the 33rd Annual Stellar Gospel Music Awards, Snoop Dogg told a TV One interviewer while speaking of his Gospel influences that he "always referred to [his] savior Jesus Christ" on most of his records, and that he had become "a born-again Christian".
Charity
In 2005, Snoop Dogg founded the Snoop Youth Football League for at-risk youth in Southern California. In 2018, it was claimed to be the largest youth football organization in Southern California, with 50 teams and more than 1,500 players.
Snoop Dogg partners with city officials and annually gives away turkeys to the less fortunate in Inglewood, California at Thanksgiving. He gave away 3000 turkeys in 2016.
Politics
In 2012, Snoop Dogg endorsed Representative Ron Paul in the Republican presidential primary, but later said he would vote for Barack Obama in the general election, and on Instagram gave ten reasons to vote for Obama (including "He a black nigga", "He's BFFs with Jay-Z", and "Michelle got a fat ass"), and ten reasons not to vote for Mitt Romney (including "He a white nigga", "That muthafucka's name is Mitt", and "He a ho").
In a 2013 interview with The Huffington Post, Snoop Dogg advocated for same-sex marriage, saying, “People can do what they want and as they please."
In his keynote address at the 2015 South by Southwest music festival, he blamed Los Angeles's explosion of gang violence in the 1980s on the economic policies of Ronald Reagan, and insinuated that his administration shipped guns and drugs into the area.
He endorsed presidential candidate Hillary Clinton on Bravo's Watch What Happens Live in May 2015, saying, "I would love to see a woman in office because I feel like we're at that stage in life to where we need a perspective other than the male's train of thought" and "[...] just to have a woman speaking from a global perspective as far as representing America, I'd love to see that. So I'll be voting for Mrs. Clinton."
Following the deadly shooting of five police officers in Dallas on July 7, 2016, Snoop Dogg and The Game organized and led a peaceful march to the Los Angeles Police Department headquarters. The subsequent private meeting with the mayor Eric Garcetti and police chief Charlie Beck, and news conference was, according to Broadus, "[...] to get some dialogue and the communication going [...]". The march and conference were part of an initiative called "Operation ", serving as a police brutality protest in response to the police shooting and killing of two black men, Philando Castile and Alton Sterling, whose killing prompted nationwide protests including those that led to the Dallas killing of police officers. Broadus stated that "We are tired of what is going on and it's communication that is lacking". Reports of attendance range between 50–100 people.
Snoop Dogg advocates for the defunding of police departments, saying "We need to start taking that money out of their pocket and put it back into our communities where we can police ourselves." In 2020, he endorsed former Vice President Joe Biden for President of the United States.
Animal rights
Snoop Dogg regularly appears in real fur garments, especially large coats, for which he attracts criticism from animal welfare charities and younger audiences. In a video podcast in 2012, the rapper asked "Why doesn't PETA throw paint on a pimp's fur coat". In 2014, Snoop Dogg claimed to have become a vegan. In June 2018, he performed at the Environmental Media Association (EMA) Honors Gala. While he was performing, the logo for Beyond Meat was displayed on the screens behind him. In 2020, Snoop Dogg invested in vegan food company Original Foods, which makes Pigless Pork Rinds, which he has said are a favorite. He is an ambassador for vegan brand Beyond Meat.
Business ventures and investments
Broadus has been an active entrepreneur and investor. In 2009, he was appointed creative chairman of Priority Records.
In May 2013, Broadus and his brand manager Nick Adler released an app, Snoopify, that lets users plaster stickers of Snoop's face, joints or a walrus hat on photos. Adler built the app in May after discovering stickers in Japan. As of 2015, the app was generating $30,000 in weekly sales.
In October 2014, Reddit raised $50 million in a funding round led by Sam Altman and including investors Marc Andreessen, Peter Thiel, Ron Conway, Snoop Dogg and Jared Leto.
In April 2015, Broadus became a minority investor in his first investment venture Eaze, a California-based weed delivery startup that promises to deliver medical marijuana to persons' doorsteps in less than 10 minutes.
In October 2015, Broadus launched his new digital media business, Merry Jane, that focuses on news about marijuana. "Merry Jane is cannabis 2.0", he said in a promotional video for the media source. "A crossroads of pot culture, business, politics, health."
In November 2015, Broadus announced his new brand of cannabis products, Leafs By Snoop. The line of branded products includes marijuana flowers, concentrates and edibles. "Leafs By Snoop is truly the first mainstream cannabis brand in the world and proud to be a pioneer", Snoop Dogg said. In such a way, Broadus became the first major celebrity to brand and market a line of legal marijuana products.
On March 30, 2016, Broadus was reported to be considering purchasing the famed soul food restaurant chain Roscoe's House of Chicken and Waffles out of bankruptcy.
In 2019, Snoop Dogg ventured into the video game business, creating his own esports league known as the "Gangsta Gaming League".
World records
Largest paradise cocktail
At the BottleRock Napa Valley music festival on May 26, 2018, Snoop Dogg, Warren G, Kendall Coleman, Kim Kaechele and Michael Voltaggio set the Guinness World Record for the largest paradise cocktail. Measuring , the "Gin and Juice" drink was mixed from 180 bottles of gin, 156 bottles of apricot brandy and 28 jugs of orange juice.
Reported volume and content
Time reported its total volume as "...more than 132 gallons [], according to Guinness...", following with an embedded tweet by Liam Mayclem via GWR (the Guinness World Records' official Twitter account), showing a reply from GWR to its own tweet stating "[t]he cocktail contained 180 bottles of Hendricks gin, 154 bottles of apricot brandy and 38 3.78 litre jugs of orange juice..."
Mixmag, NME and USA Today published the same content quantities as GWR's tweet. with Mixmag reporting that "[a]ccording to Guinness the cocktail measured at 132 gallons." NME states that the total volume was "...more than 132 gallons" and USA Todays European website states that "[a] Guinness World Records official was on hand to certify the record of the 550 liter cocktail."
Billboard published that "...the concoction required 180 handles of Hendricks gin, resulting in a gigantic beverage...".
Legal incidents
Shortly after graduating from high school in 1989, Broadus was arrested for possession of cocaine and for the following three years was frequently in and out of prison. In 1990, he was convicted of felony possession of drugs and possession for sale.
While recording Doggystyle in August 1993, Snoop Dogg was arrested in connection with the death of a member of a rival gang who was allegedly shot and killed by Snoop Dogg's bodyguard; Snoop Dogg had been temporarily living in an apartment complex in the Palms neighborhood in the West Los Angeles region, in the intersection of Vinton Avenue and Woodbine Street - the location of the shooting. Both men were charged with murder, as Snoop Dogg was purportedly driving the vehicle from which the gun was fired. Johnnie Cochran defended them. Both Snoop Dogg and his bodyguard were acquitted on February 20, 1996.
In July 1993, Snoop Dogg was stopped for a traffic violation and a firearm was found by police during a search of his car. In February 1997, he pleaded guilty to possession of a handgun and was ordered to record three public service announcements, pay a $1,000 fine, and serve three years' probation.
In September 2006, Snoop Dogg was detained at John Wayne Airport in Orange County, California by airport security, after airport screeners found a collapsible police baton in Snoop's carry-on bag. Donald Etra, Snoop's lawyer, told deputies the baton was a prop for a musical sketch. Snoop was sentenced to three years' probation and 160 hours of community service for the incident starting in September 2007. Snoop Dogg was arrested again in October 2006 at Bob Hope Airport in Burbank after being stopped for a traffic infraction; he was arrested for possession of a firearm and for suspicion of transporting an unspecified amount of marijuana, according to a police statement. The following month, after taping an appearance on The Tonight Show with Jay Leno, he was arrested again for possession of marijuana, cocaine and a firearm. Two members of Snoop's entourage, according to the Burbank police statement, were admitted members of the Rollin 20's Crips gang, and were arrested on separate charges. In April 2007, he was given a three-year suspended sentence, five years' probation, and 800 hours of community service after pleading no contest to two felony charges of drug and gun possession by a convicted felon. He was also prohibited from hiring anyone with a criminal record or gang affiliation as a security guard or a driver.
On April 26, 2006, Snoop Dogg and members of his entourage were arrested after being turned away from British Airways' first class lounge at Heathrow Airport in London, England. Snoop and his party were denied entry to the lounge due to some members flying in economy class. After being escorted outside, the group got in a fight with the police and vandalized a duty-free shop. Seven police officers were injured during the incident. After a night in jail, Snoop and the other men were released on bail the next day, but he was unable to perform a scheduled concert in Johannesburg. On May 15, the Home Office decided that Snoop Dogg would be denied entry to the United Kingdom for the foreseeable future, and his British visa was denied the following year. As of March 2010, Snoop Dogg was allowed back into the UK. The entire group was banned from British Airways "for the foreseeable future”.
In April 2007, the Australian Department of Immigration and Citizenship banned him from entering the country on character grounds, citing his prior criminal convictions. He had been scheduled to appear at the MTV Australia Video Music Awards on April 29, 2007. The Australian Department of Immigration and Citizenship lifted the ban in September 2008 and had granted him a visa to tour Australia. The DIAC said: "In making this decision, the department weighed his criminal convictions against his previous behaviour while in Australia, recent conduct – including charity work – and any likely risk to the Australian community ... We took into account all relevant factors and, on balance, the department decided to grant the visa."
Snoop was banned from entering Norway for two years in July 2012 after entering the country the month before in possession of 8 grams (0.3 oz) of marijuana and an undeclared 227,000 kr in cash, or about as of August 2018.
Snoop Dogg, after performing for a concert in Uppsala, Sweden on July 25, 2015, was pulled over and detained by Swedish police for allegedly using illegal drugs, violating a Swedish law enacted in 1988, which criminalized the recreational use of such substances – therefore making even being under the influence of any illegal/controlled substance a crime itself without possession. During the detention, he was taken to the police station to perform a drug test and was released shortly afterwards. The rapid test was positive for traces of narcotics, and he was potentially subject to fines depending on the results of more detailed analysis. Although final results "strongly" indicated drug use, the charges were ultimately dropped because it could not be proven that he was in Sweden when he consumed the substances. The rapper uploaded several videos on the social networking site Instagram, criticizing the police for alleged racial profiling; police spokesman Daniel Nilsson responded to the accusations, saying, "we don't work like that in Sweden." He declared in the videos, "Niggas got me in the back of police car right now in Sweden, cuz,” and "Pulled a nigga over for nothing, taking us to the station where I've got to go pee in a cup for nothin'. I ain't done nothin'. All I did was came to the country and did a concert, and now I've got to go to the police station. For nothin'!" He announced to his Swedish fanbase that he would no longer go on tour in the country due to the incident.
Snoop Dogg has also been arrested and fined three times for misdemeanor possession of marijuana: in Los Angeles in 1998, Cleveland, Ohio in 2001, and Sierra Blanca, Texas in 2010.
In the Death Row Records bankruptcy case, Snoop Dogg lost $2 million.
In February 2022, a woman sued Snoop Dogg for $10 million, alleging that he sexually assaulted her in May 2013 following a concert in Anaheim, California. A source representing Snoop Dogg has denied the accusation. Snoop Dogg was also sued for sexual assault in 2005.
DiscographyStudio albumsDoggystyle (1993)
Tha Doggfather (1996)
Da Game Is to Be Sold, Not to Be Told (1998)
No Limit Top Dogg (1999)
Tha Last Meal (2000)
Paid tha Cost to Be da Boss (2002)
R&G (Rhythm & Gangsta): The Masterpiece (2004)
Tha Blue Carpet Treatment (2006)
Ego Trippin' (2008)
Malice n Wonderland (2009)
Doggumentary (2011)
Reincarnated (2013)
Bush (2015)
Coolaid (2016)
Neva Left (2017)
Bible of Love (2018)
I Wanna Thank Me (2019)
From tha Streets 2 tha Suites (2021)
BODR (2022)Collaboration albumsTha Eastsidaz with Tha Eastsidaz (2000)
Duces 'n Trayz: The Old Fashioned Way with Tha Eastsidaz (2001)
The Hard Way with 213 (2004)
Mac & Devin Go to High School with Wiz Khalifa (2011)
7 Days of Funk with 7 Days of Funk (2013)
Royal Fam with Tha Broadus Boyz (2013)
Cuzznz with Daz Dillinger (2016)
Filmography
{| class="wikitable"
|- style="background:#ccc; text-align:center;"
! colspan="4" style="background: LightSteelBlue;" | Television
|- style="background:#ccc; text-align:center;"
! Year
! Title
! Role
! Notes
|-
| 1993–1994
| The Word
| Himself
| 2 episodes
|-
| 1994
| Martin
| Himself
| Episode: "No Love Lost"
|-
| 1997
| The Steve Harvey Show
| Himself
| Episode: "I Do, I Don't"
|-
| 2001
| King of the Hill
| Alabaster Jones
| Episode: "Ho Yeah!"
|-
| 2001
| Just Shoot Me
| Himself
| Episode: "Finch in the Dogg House"
|-
| 2002–2003
| Doggy Fizzle Televizzle
| Himself
| 8 episodes
|-
| 2003
| Playmakers
| Big E
| Episode: "Tenth of a Second"
|-
| 2003
| Crank Yankers
| Himself
| Episode: "Snoop Dogg & Kevin Nealon"
|-
| 2004
| Chappelle's Show
| Puppet Dangle/Himself
| Episode 10
|-
| 2004
| Las Vegas
| Himself
| Episode: "Two of a Kind"
|-
| 2004
| The Bernie Mac Show
| Calvin
| Episode: "Big Brother"
|-
| 2004
| The L Word
| Slim Daddy
| Episodes: "Luck, Next Time" & "Liberally"
|-
| 2004
| 2004 Spike Video Game Awards
| Host/Himself
| TV special
|-
| 2006
| Weeds
| Himself
| Episode: "MILF Money"
|-
| 2007–2009
| Snoop Dogg's Father Hood
| Himself
| 2 seasons, 18 episodes
|-
| 2007
| Monk
| Russel “Murderuss“ Kray
| Episode: "Mr. Monk and the Rapper"
|-
| 2008, 2010, 2013
| One Life to Live
| Himself
| 3 episodesWrote and produced theme song
|-
| 2009
| Dogg After Dark
| Himself
| 1 season, 7 episodes
|-
| 2009; 2015
| WWE Raw
| Host/Himself
| TV special
|-
| 2010
| The Boondocks
| Macktastic
| Episode: "Bitches to Rags"
|-
| 2010
| Big Time Rush
| Himself
| Episode: "Big Time Christmas"
|-
| 2011
| 90210| Himself
| Episode: "Blue Naomi"
|-
| 2011
| The Cleveland Show| Himself
| Episode: "Back to Cool"
|-
| 2014
| Love & Hip Hop: Atlanta| Himself
| Guest appearance
|-
| 2014
| Love & Hip Hop: Hollywood| Himself
| Guest appearance
|-
| 2015
| Snoop & Son, a Dad's Dream| Himself
| 1 season, 5 episodes
|-
| 2015
| Sanjay and Craig| Street Dogg
| Episode: "Street Dogg"
|-
| 2015
| Show Me the Money 4| Himself
| Episode 4
|-
| 2016–2017
| Trailer Park Boys| Himself
| 5 episodes
|-
| 2016
| Lip Sync Battle| Himself
| Episode: "Snoop Dogg vs Chris Paul"
|-
| 2016–present
| Martha & Snoop's Potluck Dinner Party| Himself
| Co-host
|-
| 2017
| The Simpsons| Himself
| Episode: "The Great Phatsby"
|-
| 2017
| Growing Up Hip Hop: Atlanta| Himself
| Guest appearances
|-
| 2017
| The Joker's Wild| Himself
| Host
|-
| 2018
| Coach Snoop| Himself
| All 8 Episodes of Netflix documentary
|-
| 2018
| Sugar| Himself
| Episode: "Snoop Dogg surprises a young father who is working to turn his life around".
|-
| 2019
| Law & Order: Special Victims Unit| P.T. Banks
| Episode: "Diss"
|-
| 2019
| American Dad!| Tommie Tokes
| Episode: "Jeff and the Dank Ass Weed Factory"
|-
| 2020
| F Is for Family| Rev. Sugar Squires
| Voice; episode: "R is For Rosie"
|-
| 2020
| Utopia Falls| The Archive
| Series regular
|-
| 2020
| Mariah Carey's Magical Christmas Special| Himself
| Television special
|-
| 2021
| The Voice| Himself
| Knockout Mega Mentor
|-
| 2021
| Black Mafia Family| Pastor Swift
|
|-
| 2022
| Phat Tuesdays: The Era of Hip Hop Comedy| Himself
| Documentary series
|}
Awards and legacy
Broadus was also a judge for the 7th annual Independent Music Awards to support independent artists' careers. He received the BMI Icon Award in 2011. The Washington Post, Billboard, and NME have called him a "West Coast icon"; and Press-Telegram, "an icon of gangsta rap". In 2006, Vibe magazine called him "The King of the West Coast". The Guardians Rob Fitzpatrick has credited his album Doggystyle'' for proving that rappers "could reinvent themselves", expanding rap's vocabulary, changing hip-hop fashions, and helping introduce a hip-hop genre called G-funk to a new generation. The album has been cited as an influence by rapper Kendrick Lamar, while fellow rappers ScHoolboy Q and Maxo Kream have also cited him as an influence. ABC website's Paul Donoughue has credited him among the 1990s acts that took hip-hop into the pop music charts.
Snoop Dogg acquired Death Row Records in February 2022 from the Blackstone-controlled company MNRK Music Group.
Notes
References
Further reading
External links
Official social media links
Snoop Dogg on Instagram. Archived from the original
Snoop Dogg on Spotify
Dogg on YouTube
1971 births
20th-century African-American male singers
20th-century American businesspeople
20th-century American male actors
20th-century American rappers
20th-century American singers
21st-century African-American male singers
21st-century American businesspeople
21st-century American male actors
21st-century American rappers
21st-century American singers
213 (group) members
African-American Christians
African-American film producers
African-American game show hosts
African-American investors
African-American male actors
African-American male rappers
African-American male singer-songwriters
African-American record producers
African-American television directors
African-American television personalities
African-American television producers
American businesspeople convicted of crimes
American cannabis activists
American film producers
American former Muslims
American game show hosts
American hip hop record producers
American hip hop singers
American investors
American male film actors
American male rappers
American male singer-songwriters
American male television actors
American male voice actors
American media company founders
American music industry executives
American music video directors
American online publication editors
American people convicted of drug offenses
American reality television producers
American reggae musicians
American television directors
Businesspeople from Los Angeles
Businesspeople in the cannabis industry
Cannabis music
Converts to Christianity from Islam
Converts to the Rastafari movement
Crips
Death Row Records artists
Film producers from California
Former Nation of Islam members
Former Rastafarians
Gangsta rappers
G-funk artists
Living people
Male actors from California
Male actors from Los Angeles
Mount Westmore members
MTV Europe Music Award winners
Musicians from Long Beach, California
No Limit Records artists
Participants in American reality television series
People acquitted of murder
Priority Records artists
Rappers from Los Angeles
Record producers from California
Record producers from Los Angeles
Reggae fusion artists
Singers from Los Angeles
Singer-songwriters from California
Television producers from California
Twitch (service) streamers
West Coast hip hop musicians
WWE Hall of Fame inductees | true | [
"When the Bough Breaks is the second solo album from Black Sabbath drummer Bill Ward. It was originally released on April 27, 1997, on Cleopatra Records.\n\nTrack listing\n\"Hate\" – 5:00\n\"Children Killing Children\" – 3:51\n\"Growth\" – 5:45\n\"When I was a Child\" – 4:54\n\"Please Help Mommy (She's a Junkie)\" – 6:40\n\"Shine\" – 5:06\n\"Step Lightly (On the Grass)\" – 5:59\n\"Love & Innocence\" – 1:00\n\"Animals\" – 6:32\n\"Nighthawks Stars & Pines\" – 6:45\n\"Try Life\" – 5:35\n\"When the Bough Breaks\" – 9:45\n\nCD Cleopatra CL9981 (US 1997)\n\nMusicians\n\nBill Ward - vocals, lyrics, musical arrangements\nKeith Lynch - guitars\nPaul Ill - bass, double bass, synthesizer, tape loops\nRonnie Ciago - drums\n\nCover art and reprint issues\n\nAs originally released, this album featured cover art that had two roses on it. After it was released, Bill Ward (as with Ward One, his first solo album) stated on his website that the released cover art was not the correct one that was intended to be released. Additionally, the liner notes for the original printing had lyrics that were so small, most people needed a magnifying glass to read them. This was eventually corrected in 2000 when the version of the album with Bill on the cover from the 70's was released. The album was later on released in a special digipak style of case, but this was later said to be released prematurely, and was withdrawn.\n\nReferences\n\nExternal links\nWhen the Bough Breaks at Bill Ward's site\nWhen the Bough Breaks at Black Sabbath Online\n\nBill Ward (musician) albums\nBlack Sabbath\n1997 albums\nCleopatra Records albums",
"Push Rewind is the debut solo album by American pop singer Chris Wallace. It was released digitally on September 4, 2012.\n\nThe album was taken off of iTunes in late 2013 and was re-released on March 4, 2014.\n\nBackground\nAfter Chris' previous band, The White Tie Affair broke up, Chris began working on a solo album.\n\nOn August 23, 2012, Chris tweeted that his first solo album, Push Rewind, would be available on iTunes on September 4. On September 4, 2012, his debut solo album was released via ThinkSay Records.\n\nRelease and promotion\n\nSingles\n\"Remember When (Push Rewind)\" was released as the lead single off of the album on June 12, 2012. The song was available for free for the week of September 4, 2012 as iTunes' Single of the Week to help promote the album. The song has so far reached number 2 on the Billboard Bubbling Under Hot 100.\n\n\"Keep Me Crazy\" was announced as the second single from the album. It was originally released to mainstream pop radio on April 22, 2013 but it was re-released on July 30, 2013.\n\nTrack listing\n\nRelease history\n\nReferences\n\n2012 debut albums"
]
|
[
"Ai (singer)",
"Products and endorsements"
]
| C_202307881f694726a0dabf13f177a6de_0 | what kind of hobbies did AI have? | 1 | what kind of hobbies did the singer AI have? | Ai (singer) | As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs. Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know." Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang. Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER | Ai has featured as a spokesperson, or has her music featured, for many products. | , known mononymously as Ai (, stylized as AI or A.I. ), is a Japanese-American singer-songwriter, rapper, record producer, spokeswoman, and actress.
After being discovered by BMG Japan in 2000, she released her debut album, My Name is Ai (2001). Signing to Def Jam Records Japan in 2003, Ai became the first woman signed to the label. She released two studio albums under the label, Original Ai (2003) and 2004 Ai. With the release of her third studio album, Ai rose to mainstream prominence in Japan. Signing to Island Records in 2005, Ai released her fourth studio album, Mic-a-Holic Ai (2005). Its second single "Story" became one of the biggest singles of the 2000s in Japan, peaking at number 8 on the Japanese Oricon singles chart, and was the sixth single in history to receive a triple million digital certification by the Recording Industry Association of Japan (RIAJ).
Ai's fifth studio album, What's Goin' On Ai (2006), featured the top-ten singles "Believe" and "I Wanna Know", the latter receiving a Gold certification from the RIAJ. Her sixth studio album, Don't Stop Ai (2007) saw similar success, which received a Gold certification. In 2009, she released her seventh studio album, Viva Ai, which charted in the top ten of the Japanese Oricon albums chart. Ai's compilation album, Best Ai (2009), became her first number one album and was certified Platinum. In 2010, she released her eighth studio album, The Last Ai, which marked her last release under Island Records.
In 2011, Ai left Universal Music Group and signed a global publishing deal with EMI. Her Gold certified ninth studio album Independent (2012) served as her international debut and first release under EMI Music Japan. To promote the album, Ai toured in Japan and her hometown, Los Angeles, California. Her tenth studio album Moriagaro (2013) marked her first release under EMI Records Japan following EMI Music Japan's absorption into Universal Music Japan as a sublabel. Her fourth compilation album, The Best (2015) peaked at number 3 on the Oricon Albums chart and number 2 on the Billboard Japan Hot Albums chart, later being certified Gold by the RIAJ. Its successor, The Feat. Best (2016) charted within the top 30 of both the Japan Hot Albums and Oricon Albums chart.
Ai's eleventh studio album, Wa to Yo (2017) experimented with traditional Japanese and electronic sounds. Its second single, "Kira Kira" was nominated for the Grand Prix award and won the Excellent Works Award at the 59th Japan Records Awards. Her sixth compilation album Kansha!!!!! - Thank You for 20 Years New and Best (2019) was issued to celebrate her twenty years in the music industry. Further celebrating her twenty year anniversary, Ai released the extended plays It's All Me, Vol. 1 (2020) and It's All Me, Vol. 2 (2021). In December 2021, Ai announced her twelfth studio album, Dream. The album is set for release in February 2022.
Early life and education
Ai was born in Los Angeles in 1981. Her father is Japanese and her mother is American of Italian and Native Okinawan descent. She moved to Kagoshima in Japan when she was 4, and went to elementary school and junior high school in Japan.
Ai was motivated to become a singer in her early teens, after singing at a cousin's wedding, having many people ask her if she wanted to be a professional singer, and hearing a gospel performance at the First African Methodist Episcopal Church of Los Angeles in 1993. After graduating from junior high school in Japan, Ai returned to Los Angeles for high school, enrolling at Glendale High School, however found high school difficult due to never formally studying English. After making it through the audition process, she switched to the Los Angeles County High School for the Arts, majoring in ballet. She became a member of the school's gospel choir. In 1998, she performed in a gospel choir at a Mary J. Blige concert at the Universal Amphitheatre, performing of "A Dream." In the same year, she appeared as a dancer in the music video for Janet Jackson's song "Go Deep."
Career
1999–2004: SX4, BMG Japan, move to Universal
In 1999, she joined an Asian girl group called SX4, who were produced by George Brown of Kool & the Gang. Ai was a member of the group for two years, and later in 1999 the group were offered a record label deal. While on her summer holiday in Kagoshima, she performed Monica's "For You I Will" on a local radio station, which led to her being scouted by BMG Japan. She decided to take the offer, and after leaving SX4 and graduating from high school in June 2000, moved to Tokyo and debuted as a musician later in 2000.
Ai debuted under BMG Japan with the single "Cry, Just Cry" in November 2000. Between then and November 2001, she released three singles, culminating in her debut album, My Name Is Ai. However, the releases were not very commercially successful, and the album debuted at number 86.
In 2002 she moved to Def Jam Japan as the first female artist signed to the label. Ai has said that she felt more at home under Def Jam, as many of her co-workers shared her musical tastes. Her first album under the label in 2003 Original Ai debuted at 15 on Oricon'''s album charts, and her second, 2004 Ai, debuted at number three. In 2004, she won the Space Shower Music Video Awards' award for Best R&B Video, with her song "Thank U."
After moving to Def Jam, Ai increasingly began collaborating with musicians, especially Japanese hip-hop and rap artists (though under BMG Japan, Ai had collaborated with Mao Denda, and Soul'd Out rapper Diggy-Mo'). She was featured as a rapper on the Suite Chic single "Uh Uh,,,,,", a collaboration between Namie Amuro, Verbal of M-Flo, and music producer Ryōsuke Imai in 2003. Other musicians Ai collaborated with in this period were Afra, Boy-Ken, Joe Budden, Dabo, Deli, Double, Heartsdales, Ken Hirai, M-Flo, Sphere of Influence and Zeebra. Ai's collaborations featured her either as a rapper or a singer.
2005–2010: "Story", rise in fame
In 2005, Ai released the ballad single "Story", which became the biggest hit of her career. It was a sleeper hit, charting for 20 weeks in the top 30 in 2005 and 2006, however went on to sell over three million ringtones, one million cellphone downloads, and 270,000 physical copies. Ai later performed "Story" at the prestigious 56th NHK Kōhaku Uta Gassen New Years music concert. Her next studio album, Mic-a-holic Ai, was the best selling album of her career, being certified double platinum by the RIAJ.
Ai's first single of 2006, the ballad "Believe", was also a success: it debuted at number two, and sold more than one million ringtones. The song was used as the theme song of the Kenji Sakaguchi starring medical drama, Team Medical Dragon. Her next two albums, What's Goin' On Ai (2006) and Don't Stop Ai (2007) were also greatly commercially successful, being certified platinum and gold respectively.
In 2009, Ai released her greatest hits album, Best Ai. It was the first number one record of her career. In 2010, Ai collaborated with many artists such as Namie Amuro, Miliyah Kato, Chaka Khan and Boyz II Men on her 10th anniversary album, The Last Ai.
To the end of Ai's career with Universal, her album sales began to decrease. Viva Ai (2009) debuted at number 10, and The Last Ai (2010) at 14 (despite her gold hit from the album, "Fake" featuring Namie Amuro).
2011–2016: Independent, Moriagaro and The Best
In June 2011, Ai signed with EMI Music Japan. She collaborated with The Jacksons on December 13 and 14, 2011, at the Michael Jackson Tribute Live tribute concerts held in Tokyo. She performed the vocals in the third act for Michael Jackson's songs. She also performed and released the theme song for the event, "Letter in the Sky" featuring the Jacksons. In November 2011, Ai released the song "Happiness", a collaboration with Coca-Cola for their winter 2011 campaign. The song was a hit, being certified gold in two different mediums. The song revitalized the sales of her ninth studio album, Independent, which has sold more than 60,000 copies. Independent was Ai's first album to be released internationally outside of Asia.
On April 1, 2013, EMI Music Japan was completely merged into Universal Music Japan as a sublabel by the name of EMI Records Japan as a result of Universal Music's purchase of EMI in September 2012. Ai's tenth studio album, Moriagaro, was released in July 2013, serving as her first release under EMI Japan, although was not released outside of Asia.
A previously unreleased English version of Ai's single "Story" was featured in the Japanese dub of the Disney film Big Hero 6 in October 2014.
In November 2015, Ai released a compilation album, The Best, to celebrate fifteen years in the music industry. The compilation album was reissued in mid-2016. A third compilation release of tracks with featured artists titled The Feat. Best was issued in November 2016.
2017–present: Wa to Yo, twenty-year anniversary and Dream
Ai teased her eleventh studio album, Wa to Yo on social media in April 2017. Wanting to "convey the goodness of Japan" to the rest of the world and "the goodness of the overseas to Japanese people", Ai collaborated with several producers, artists and songwriters from both Japan and the west. The lead single "Justice Will Prevail at Last" was released in May 2017. Wa to Yo was released in June 2017 and was her second international album release outside of Asia. The album was reissued in October 2017, titled Wa to Yo to. The album peaked at number 11 on the Oricon weekly chart.
In early 2019, Ai traveled to her hometown, Los Angeles, California, to record new material to celebrate twenty years in the music industry and for the 2020 Tokyo Summer Olympics. Her fourth compilation album, Kansha!!!!! - Thank You for 20 Years New and Best, was released in November 2019, serving as her first international compilation release. Ai's extended play, It's All Me, Vol. 1 was planned to be released on the start of the 2020 Olympics, but instead was released on July 8, 2020 after the event was postponed to summer 2021 due to the COVID-19 pandemic. The lead single of It's All Me, Vol. 1, "Summer Magic" was her first single to be released internationally. Its Japanese version was included in an advertisement for the Amazon Echo. In November 2020, "Not So Different" was released digitally as the lead single for Ai's extended play, It's All Me, Vol. 2. In December 2020, Ai partnered with One Young World and released a special music video of the song in support of the project. A remix of "Not So Different" featuring Japanese rapper Awich was released on December 11, 2020 as a promotional single. The second single, "Hope" was released on January 30, 2021 with its music video premiering the same day. Ai partnered with deleteC, a non-profit organization in Japan aiming to support cancer treatment. It's All Me, Vol. 2 later was released in February 2021. In March 2021, EMI released a compilation EP of songs by Ai titled Self Selection "Hip Hop". In June 2021, Ai's previous releases with her former label, Universal Sigma, were made available internationally for digital streaming.
On June 28, 2021, Ai released "The Moment" featuring Japanese rapper Yellow Bucks. On the same day, she performed the song with Yellow Bucks and DJ Ryow on CDTV, a Japanese TV channel by TBS. In August 2021, she released a single featuring Dachi Miura, titled "In the Middle". In September 2021, Ai announced her next single, "Aldebaran". The song serves as the theme song for the NHK television drama, Come Come Everbody. Upon its release in November, it became her first charting single on the Billboard Japan Hot 100 since her 2017 single, "Kira Kira". The song debuted and peaked at number 37 on the chart. On the Oricon charts, "Aldebaran" peaked at number 4 on the Daily Digital Singles Chart and number 6 on the weekly Digital Singles Chart. Ai performed "Aldebaran" at the 72nd NHK Kōhaku Uta Gassen on December 31, 2021, her fourth appearance on the show. In December 2021, Ai announced her twelfth studio album on social media, titled Dream. The nine-track album is set for release in February 2022.
Other ventures
In April 2011, Ai presented a music documentary, Ai Miss Michael Jackson: King of Pop no Kiseki, that was recorded for Music On! TV. In the documentary, she traveled to the United States and interviewed members of the Jackson family in their home.
For the American musical comedy Glee's season two episode Britney/Brittany, Ai dubbed the voice of Britney Spears in the Japanese release.
Products and endorsements
As is standard for Japanese musicians, Ai has featured as a spokesman, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.
Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."
Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishichō Keizoku Sōsahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.
Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney's box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007).
Personal life
On March 6, 2013, Ai announced her engagement to Hiro, the leader and vocalist of the rock band Kaikigesshoku. The pair had been dating for 10 years, and wed in January 2014. On August 28, 2015, Ai gave birth to her first child, a baby girl. On July 24, 2018, it was revealed Ai was pregnant with her second child. Her second child, a boy, was born on December 29, 2018.
In 2019, outdoor advertisements for Ai's single, "Summer Magic" were displayed at Shinjuku Station. The advertisement displayed a search result of her name, which showed top results for artificial intelligence (AI), while a cut off photo of Ai herself appeared on the bottom of the search result. On Twitter, Ai revealed her distaste of artificial intelligence being the top results when searching her name mononymously on search engines.
Controversy
In 2012, Ai was part of a controversy regarding the murder of Nicola Furlong. Reports from The Japan Times and Irish Independent stated James Blackston and Richard Hinds were working for Ai as performers for her Independent Tour 2012. On May 21, a day after the tour performance in Sendai, Blackston was at a dance school within the city teaching dance moves for a number of Ai songs to students. Regarding allegations of a connection to the crime, Ai and her representative team declined to make an official statement.
Discography
My Name Is Ai (2001)
Original Ai (2003)
2004 Ai (2004)
Mic-a-holic Ai (2005)
What's Goin' On Ai (2006)
Don't Stop Ai (2007)
Viva Ai (2009)
The Last Ai (2010)
Independent (2012)
Moriagaro (2013)
Wa to Yo (2017)Dream'' (2022)
Awards and nominations
References
External links
Official website
Ai on Twitter
Ai on Instagram
Ai on YouTube
1981 births
Living people
21st-century American women singers
21st-century American singers
21st-century Japanese women singers
21st-century American actresses
21st-century women rappers
21st-century Japanese singers
21st-century American rappers
21st-century Japanese actresses
People from Los Angeles
Singers from Los Angeles
Songwriters from California
People from Kagoshima
Musicians from Kagoshima Prefecture
Los Angeles County High School for the Arts alumni
Actresses from Los Angeles
American people of Italian descent
Japanese people of American descent
Japanese people of Italian descent
American musicians of Japanese descent
American women songwriters
American women pop singers
Japanese women pop singers
American hip hop singers
Japanese hip hop singers
American contemporary R&B singers
Record producers from Los Angeles
Japanese rhythm and blues singers
English-language singers from Japan
Bertelsmann Music Group artists
RCA Records artists
Universal Music Group artists
Universal Music Japan artists
Def Jam Recordings artists
Island Records artists
EMI Music Japan artists
EMI Records artists
American expatriates in Japan
Citizens of Japan through descent
Japanese women singer-songwriters
American women singer-songwriters
American rappers of Asian descent
American women rappers
Japanese rappers
Pop rappers
Women hip hop record producers
American hip hop record producers
American women record producers
Japanese women record producers
Spokespersons | false | [
"Appreciative Inquiry (AI) is an approach that believes improvement is more engaging when the focus is made on the strengths rather than the weaknesses. People tend to respond to positive statements but react to negative statements that concern them. Children are more sensitive to their self-worth and thrive on what makes them feel good, what makes them feel accepted, included and recognized. AI is a powerful tool that can be used in the field of Education to enable children discover what is good about them and dream of what they can do with this realization. Children of today are very sensitive and make decisions in haste which sometimes costs them their lives. In such a situation, AI plays a very vital role.\n\nOverview\nAppreciative Inquiry is the cooperative search for the best in people their organizations, and the world around them. It involves systematic discovery of what gives a system 'life' when it is most effective and capable in economic, ecological, and human terms. AI involves the art and practice of asking questions that strengthen a system's capacity to heighten positive potential. It mobilizes inquiry through crafting an \"unconditional positive question' often involving hundreds or sometimes thousands of people.\"\n\nApplication\nApplied in the education sector, AI is a cooperative search for the best in children, their school, their teachers, their classmates, their parents and this discovery influences and helps shape their image of the future. It all begins with a story which the appreciative inquirer tells about him/herself and this story is only about where the child has experienced the best of what he could e.g. in reading, writing, passing tests and exams. With this flow of energy from past experience, the child is poised for a similar experience in the future and so nurtures all that give energy and brings joy of performance, acceptance and readiness to move ahead. AI starts with a statement of purpose or object of inquiry and which then takes the inquirer through the five steps (known as the 5Ds of AI) and graphically illustrated as follows:\n\nRefer the picture in\n\nAppreciative Inquiry in the education sector can amplify the motivation of the students and help them become most alive and effective. AI brings about social change in the pupil as the emphasis is on what is good and the belief that people nurture what they appreciate, than what they are not happy about. The system of education can be based on the five principles of AI that will enable the child discover through her/his own story, what is good about him/her and dream of how he/she can capitalize on this story of goodness to do more of such things that he/she appreciates about himself, about his environment, about his world.\n\nPrinciples\nA quick look at the principles will enable the understanding of why AI is suitable for our education system:\ni. Constructionist Principle – argues that the language and metaphors we use don't just describe reality (the world), they actually create 'our 'reality (the world). It means that great care is taken in the choice of words that we use as it will influence the kind of future we create. The language of the teacher influences what the child considers as his/her reality and this influences his self-perception and hence his self-worth which is very important for what he/she becomes in future. \nii. Principle of Simultaneity – change begins from the moment we ask a question about a thing. The heart of AI is an unconditional positive question. For example, – what was the best thing that has happened to you in the last week? \niii. The Poetic Principle - as the topic of inquiry is on what is good about the individual or the environment, this helps open a new chapter in the life of the child. Stories reveal qualities which had not been previously realized and appreciated.\niv. The Anticipatory Principle – we grow into the images we create, hence, when the child is made to see himself as good, his imagination about his future will always be good enough and as magnet this imagined future will always pull the child towards this goal.\nv. The Positive Principle – feelings of hope, inspiration, caring, sense of purpose, joy and creating something meaningful or being part of something good are among what we define as positive. It is therefore, important that the questions asked to the child are affirmative and positive.\n\nIt allows a student to be potentially free from any kind of bondage or control. AI gives an opportunity for the students to showcase their innovative side rather than just rote memory. This in turn makes them autonomous learners. The students are able to understand their strengths every time their potentials are amplified. Use of this in the educational sector would bring about a sea of difference as there would be more room for amplifying the existing positive energy. Even the basic assumptions of AI which includes the assumption that 'in every human situation, there is something that works\" is a clear indication that no child is incapable of producing a result that would even surprise the child him/herself. All that the child needs are such questions that would enable him/her tap into the core of his/her being.\n\nThe system of education which relies on an average test or examination grades label children who do not meet the marks as 'failed'. AI in education enables the child to identify the subjects where he/she is very satisfied with the performance, and through story, the child discovers what he/she did differently and how to tap this aspect for more satisfaction. This is why AI is also referred as 'locating the energy for change'. It is a search for what is good through stories and what needs to be done through dreams. AI brings a dream to reality because, motivation for the future depends on the images of success of the past.\n\nEducational reform movement\nOne of the strands of educational reform movements in the last two decades has been the call for greater collaborative efforts, both among educators as well as with parents, students and the surrounding community. Educational researcher Hargreaves (1994) referred to collaboration as an 'articulating and integrating principle' (p. 245) for school improvement, providing a way for teachers to learn from each other, gain moral support, coordinate action, and reflect on their classroom practices, their values, and the meaning of their work .\n\nThese concerns point to the need for a change process that has a positive focus, is essentially self-organizing, encourages deep reflection, and avoids the pitfalls of manipulation by school administrators. This analysis points to a consideration of appreciative inquiry, a strengths-based process that builds on 'the best of what is' in an organization.\n\nReferences\n\nEducational practices\nDevelopmental psychology",
"Cookie Cutter is the fourth official studio album by recording artist Jim Bianco.\n\nReleased October 1, 2013, this album was created as a pledge sponsored gift for fans participating in Bianco's 2010 Kickstarter campaign. Over the course of the 45-day campaign, Bianco was able to raise $31,500 to launch the release of his 2011 album LOUDMOUTH. Bianco's campaign success was featured in an article by Shanna Schwarze at CNN.com.\nFans that pledged $500 or more to Bianco's Kickstarter campaign were given a questionnaire, which Bianco used to personalize a song about that person. \"Cookie Cutter\" is the result of this campaign gift, with proceeds of the sale given to charity benefiting veterans.\n\nBianco hosted a live concert performance at the Hudson Theater in Hollywood, CA in honor of the release on October 1, 2014. \nOn October 2, 2013, Audie Cornish of NPR’s All Things Considered featured Bianco and his process of creating Cookie Cutter.\n\nTrack listing\nAll songs written by Jim Bianco\n\"Apache\"–4:10\n\"Kilpatrick Man\"– 2:50\n\"California\"– 3:08\n\"BTO\" –5:28\n\"Jane\"–4:10\n\"Blue Subaru\"– 4:18\n\"Indiana Ballerina\"–3:17\n\"Hey Princess\"– 4:23\n\"Golden Rule\"– 4:04\n\"I’ll Be There for You\"–4:08\n\"Billy Baker\"– 4:03\n\"Miracle\"– 5:14\n\"Good to Have You Home\" –4:12\n\"Single Malt Scotch\"–2:48\n\"Breaking Your Heart\"– 4:04\n\"It’s Gonna Be OK\"–3:52\n\"That’s What She Said (Intro)\"–1:36\n\"That’s What She Said\"– 3:05\n\nPersonnel\nJames Babson\nJillian Bianco\nJim Bianco–lead vocals,\nMaureen Bianco\nStarla Coco Bolle\nLelia Broussard\nTim Davies\nPetra Haden\nRoger Hayden\nJordan Katz\nJulia Kole\nKevin Margulis\nCaesar Mattachiera\nAllie Moss\nSabriena Simon\nLenny Simon\nSarah Simon\nJon Svensong\n\nAdditional production information\nMixed by Nathanael Boone and Kenny Lyon\nMastered by D James Gordon\nAll introductions written by Jim Bianco and Sarah Simon\nProduced by Jim Bianco and Sarah Simon\n\nStudio information\nRecorded at Steady Studios. Additional tracking at Boulevard Recording.\n\nThe 69 Questions\n1) Your full name? \n2) Nicknames?\n3) Are you over the age of 10?\n4) Over the age of 20? \n5) Town and county and state/province and street and zip code where you live? \n6) Your current occupation? \n7) Are both your parents still alive? \n8) Your parents’ full names: \n9) Your parents’ occupation when you were born: \n10) What was the name of the street you grew up on? \n11) Childhood hobbies?\n12) Do you have any childhood memories from a vacation?\n13) How about any childhood fascinations? (i.e. Firetrucks, Outer space, Mary Lou Retton, etc....) \n14) Any albums/music from your childhood that stuck with you? \n15) What was the name of your elementary school, middle school and high school? \n16) What was the name of your first boyfriend/girlfriend? \n17) What was the color, year, make and model of you first car (if any)? \n18) What is the color, year, make and model of current car? \n19) What was your most memorable childhood pet? \n20) What was its name and what kind of animal? \n21) How did it die? \n22) Do you currently have pets? \n23) Current pet names? What kind of animal?\n24) Who were your neighbors growing up? \n25) Who are your current neighbors? \n26) Any tattoos? \n27) Where? \n28) Of what? \n29) When did you get them? \n30) Why? \n31) Piercings? \n32) Scars? \n33) Where on your body? \n34) When did you get it? \n35) How? \n36) Five favorite songs? \n37) Five favorite albums? \n38) Five favorite movies? \n39) Favorite book?\n40) Favorite Actor/Actress? \n41) Favorite Color? \n42) Current Hobbies? \n43) History of places that you lived and ages you were there \n(i.e. Portland: 22-25, NYC 26-33, Charlotte, NC 33- 36) \n44) Fears/phobias? (i.e. Clowns, spiders, rollercoasters, etc....) \n45) Favorite Flavor Ice Cream? \n46) Drinker? \n47) Favorite libation(s)? \n48) Smoker? \n49) Brand of cigarettes? \n50) Partaker of the occasional doobie? \n51) Have you ever stolen anything? \n52) When?\n53) Where?\n54) Why?\n55) Who was the first person you slept with? \n56) Do you have any allergies of any kind? \n57) Eye color? \n58) Any sayings/quotes that were passed down from your parents? (for example, my father has always said ‘Any port in a foreign storm’, and for some reason it stuck with me.) \n59) Any favorite quotes, in general? \n60) Do you live in an apartment or a house? \n61) When was your first kiss? \n62) With who? \n63) Do you remember if it was good or bad? \n64) Do you have children? (Boys? Girls? How many? ) \n65) What are their full names?\n66) Currently Married, single, divorced or ‘in a relationship’? \n67) Saddest event(s) in your life? \n68) Happiest event(s) in your life? \n69) What is your best summer memory?\n\nVideos\n\nKickstarter Movie (2010)\n (2010)\n\nJim Bianco on Cookie Cutter\n\"I really tried to capture the experiences that unite and define us as people, so that not only would someone’s answer be relevant to them, obviously, but to someone listening who wasn’t that person.\" \n\"My father is a Brooklyn-born weight-lifting Italian Roman Catholic who wields a pompadour and only drives a Cadillac. My mother is a kind, classic, 1950’s Brooklyn Jew who quit high school to work in a pencil factory. It’s pretty obvious where my obsession with eccentric characters comes from.\"\n\"Centuries ago it was common for the church or the aristocracy to commission composers to create a piece of work for them. Whether it was for a royal wedding or a religious holiday, composers crafted the music for specific people or events.’Cookie Cutter’ is the modern version of that.\"\n\nReferences\n\nExternal links\nJim Bianco on NPR’s All Things Considered October 2, 2013\nCookie Cutter at iTunes\nLOUDMOUTH Record Release Campaign at Kickstarter.com\nAirForTimes Article August 12, 2012\n\nJim Bianco albums\n2013 albums\nKickstarter-funded albums"
]
|
[
"Ai (singer)",
"Products and endorsements",
"what kind of hobbies did AI have?",
"Ai has featured as a spokesperson, or has her music featured, for many products."
]
| C_202307881f694726a0dabf13f177a6de_0 | did she have any children or marry? | 2 | Did AI have any children or marry? | Ai (singer) | As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs. Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know." Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang. Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER | CANNOTANSWER | , known mononymously as Ai (, stylized as AI or A.I. ), is a Japanese-American singer-songwriter, rapper, record producer, spokeswoman, and actress.
After being discovered by BMG Japan in 2000, she released her debut album, My Name is Ai (2001). Signing to Def Jam Records Japan in 2003, Ai became the first woman signed to the label. She released two studio albums under the label, Original Ai (2003) and 2004 Ai. With the release of her third studio album, Ai rose to mainstream prominence in Japan. Signing to Island Records in 2005, Ai released her fourth studio album, Mic-a-Holic Ai (2005). Its second single "Story" became one of the biggest singles of the 2000s in Japan, peaking at number 8 on the Japanese Oricon singles chart, and was the sixth single in history to receive a triple million digital certification by the Recording Industry Association of Japan (RIAJ).
Ai's fifth studio album, What's Goin' On Ai (2006), featured the top-ten singles "Believe" and "I Wanna Know", the latter receiving a Gold certification from the RIAJ. Her sixth studio album, Don't Stop Ai (2007) saw similar success, which received a Gold certification. In 2009, she released her seventh studio album, Viva Ai, which charted in the top ten of the Japanese Oricon albums chart. Ai's compilation album, Best Ai (2009), became her first number one album and was certified Platinum. In 2010, she released her eighth studio album, The Last Ai, which marked her last release under Island Records.
In 2011, Ai left Universal Music Group and signed a global publishing deal with EMI. Her Gold certified ninth studio album Independent (2012) served as her international debut and first release under EMI Music Japan. To promote the album, Ai toured in Japan and her hometown, Los Angeles, California. Her tenth studio album Moriagaro (2013) marked her first release under EMI Records Japan following EMI Music Japan's absorption into Universal Music Japan as a sublabel. Her fourth compilation album, The Best (2015) peaked at number 3 on the Oricon Albums chart and number 2 on the Billboard Japan Hot Albums chart, later being certified Gold by the RIAJ. Its successor, The Feat. Best (2016) charted within the top 30 of both the Japan Hot Albums and Oricon Albums chart.
Ai's eleventh studio album, Wa to Yo (2017) experimented with traditional Japanese and electronic sounds. Its second single, "Kira Kira" was nominated for the Grand Prix award and won the Excellent Works Award at the 59th Japan Records Awards. Her sixth compilation album Kansha!!!!! - Thank You for 20 Years New and Best (2019) was issued to celebrate her twenty years in the music industry. Further celebrating her twenty year anniversary, Ai released the extended plays It's All Me, Vol. 1 (2020) and It's All Me, Vol. 2 (2021). In December 2021, Ai announced her twelfth studio album, Dream. The album is set for release in February 2022.
Early life and education
Ai was born in Los Angeles in 1981. Her father is Japanese and her mother is American of Italian and Native Okinawan descent. She moved to Kagoshima in Japan when she was 4, and went to elementary school and junior high school in Japan.
Ai was motivated to become a singer in her early teens, after singing at a cousin's wedding, having many people ask her if she wanted to be a professional singer, and hearing a gospel performance at the First African Methodist Episcopal Church of Los Angeles in 1993. After graduating from junior high school in Japan, Ai returned to Los Angeles for high school, enrolling at Glendale High School, however found high school difficult due to never formally studying English. After making it through the audition process, she switched to the Los Angeles County High School for the Arts, majoring in ballet. She became a member of the school's gospel choir. In 1998, she performed in a gospel choir at a Mary J. Blige concert at the Universal Amphitheatre, performing of "A Dream." In the same year, she appeared as a dancer in the music video for Janet Jackson's song "Go Deep."
Career
1999–2004: SX4, BMG Japan, move to Universal
In 1999, she joined an Asian girl group called SX4, who were produced by George Brown of Kool & the Gang. Ai was a member of the group for two years, and later in 1999 the group were offered a record label deal. While on her summer holiday in Kagoshima, she performed Monica's "For You I Will" on a local radio station, which led to her being scouted by BMG Japan. She decided to take the offer, and after leaving SX4 and graduating from high school in June 2000, moved to Tokyo and debuted as a musician later in 2000.
Ai debuted under BMG Japan with the single "Cry, Just Cry" in November 2000. Between then and November 2001, she released three singles, culminating in her debut album, My Name Is Ai. However, the releases were not very commercially successful, and the album debuted at number 86.
In 2002 she moved to Def Jam Japan as the first female artist signed to the label. Ai has said that she felt more at home under Def Jam, as many of her co-workers shared her musical tastes. Her first album under the label in 2003 Original Ai debuted at 15 on Oricon'''s album charts, and her second, 2004 Ai, debuted at number three. In 2004, she won the Space Shower Music Video Awards' award for Best R&B Video, with her song "Thank U."
After moving to Def Jam, Ai increasingly began collaborating with musicians, especially Japanese hip-hop and rap artists (though under BMG Japan, Ai had collaborated with Mao Denda, and Soul'd Out rapper Diggy-Mo'). She was featured as a rapper on the Suite Chic single "Uh Uh,,,,,", a collaboration between Namie Amuro, Verbal of M-Flo, and music producer Ryōsuke Imai in 2003. Other musicians Ai collaborated with in this period were Afra, Boy-Ken, Joe Budden, Dabo, Deli, Double, Heartsdales, Ken Hirai, M-Flo, Sphere of Influence and Zeebra. Ai's collaborations featured her either as a rapper or a singer.
2005–2010: "Story", rise in fame
In 2005, Ai released the ballad single "Story", which became the biggest hit of her career. It was a sleeper hit, charting for 20 weeks in the top 30 in 2005 and 2006, however went on to sell over three million ringtones, one million cellphone downloads, and 270,000 physical copies. Ai later performed "Story" at the prestigious 56th NHK Kōhaku Uta Gassen New Years music concert. Her next studio album, Mic-a-holic Ai, was the best selling album of her career, being certified double platinum by the RIAJ.
Ai's first single of 2006, the ballad "Believe", was also a success: it debuted at number two, and sold more than one million ringtones. The song was used as the theme song of the Kenji Sakaguchi starring medical drama, Team Medical Dragon. Her next two albums, What's Goin' On Ai (2006) and Don't Stop Ai (2007) were also greatly commercially successful, being certified platinum and gold respectively.
In 2009, Ai released her greatest hits album, Best Ai. It was the first number one record of her career. In 2010, Ai collaborated with many artists such as Namie Amuro, Miliyah Kato, Chaka Khan and Boyz II Men on her 10th anniversary album, The Last Ai.
To the end of Ai's career with Universal, her album sales began to decrease. Viva Ai (2009) debuted at number 10, and The Last Ai (2010) at 14 (despite her gold hit from the album, "Fake" featuring Namie Amuro).
2011–2016: Independent, Moriagaro and The Best
In June 2011, Ai signed with EMI Music Japan. She collaborated with The Jacksons on December 13 and 14, 2011, at the Michael Jackson Tribute Live tribute concerts held in Tokyo. She performed the vocals in the third act for Michael Jackson's songs. She also performed and released the theme song for the event, "Letter in the Sky" featuring the Jacksons. In November 2011, Ai released the song "Happiness", a collaboration with Coca-Cola for their winter 2011 campaign. The song was a hit, being certified gold in two different mediums. The song revitalized the sales of her ninth studio album, Independent, which has sold more than 60,000 copies. Independent was Ai's first album to be released internationally outside of Asia.
On April 1, 2013, EMI Music Japan was completely merged into Universal Music Japan as a sublabel by the name of EMI Records Japan as a result of Universal Music's purchase of EMI in September 2012. Ai's tenth studio album, Moriagaro, was released in July 2013, serving as her first release under EMI Japan, although was not released outside of Asia.
A previously unreleased English version of Ai's single "Story" was featured in the Japanese dub of the Disney film Big Hero 6 in October 2014.
In November 2015, Ai released a compilation album, The Best, to celebrate fifteen years in the music industry. The compilation album was reissued in mid-2016. A third compilation release of tracks with featured artists titled The Feat. Best was issued in November 2016.
2017–present: Wa to Yo, twenty-year anniversary and Dream
Ai teased her eleventh studio album, Wa to Yo on social media in April 2017. Wanting to "convey the goodness of Japan" to the rest of the world and "the goodness of the overseas to Japanese people", Ai collaborated with several producers, artists and songwriters from both Japan and the west. The lead single "Justice Will Prevail at Last" was released in May 2017. Wa to Yo was released in June 2017 and was her second international album release outside of Asia. The album was reissued in October 2017, titled Wa to Yo to. The album peaked at number 11 on the Oricon weekly chart.
In early 2019, Ai traveled to her hometown, Los Angeles, California, to record new material to celebrate twenty years in the music industry and for the 2020 Tokyo Summer Olympics. Her fourth compilation album, Kansha!!!!! - Thank You for 20 Years New and Best, was released in November 2019, serving as her first international compilation release. Ai's extended play, It's All Me, Vol. 1 was planned to be released on the start of the 2020 Olympics, but instead was released on July 8, 2020 after the event was postponed to summer 2021 due to the COVID-19 pandemic. The lead single of It's All Me, Vol. 1, "Summer Magic" was her first single to be released internationally. Its Japanese version was included in an advertisement for the Amazon Echo. In November 2020, "Not So Different" was released digitally as the lead single for Ai's extended play, It's All Me, Vol. 2. In December 2020, Ai partnered with One Young World and released a special music video of the song in support of the project. A remix of "Not So Different" featuring Japanese rapper Awich was released on December 11, 2020 as a promotional single. The second single, "Hope" was released on January 30, 2021 with its music video premiering the same day. Ai partnered with deleteC, a non-profit organization in Japan aiming to support cancer treatment. It's All Me, Vol. 2 later was released in February 2021. In March 2021, EMI released a compilation EP of songs by Ai titled Self Selection "Hip Hop". In June 2021, Ai's previous releases with her former label, Universal Sigma, were made available internationally for digital streaming.
On June 28, 2021, Ai released "The Moment" featuring Japanese rapper Yellow Bucks. On the same day, she performed the song with Yellow Bucks and DJ Ryow on CDTV, a Japanese TV channel by TBS. In August 2021, she released a single featuring Dachi Miura, titled "In the Middle". In September 2021, Ai announced her next single, "Aldebaran". The song serves as the theme song for the NHK television drama, Come Come Everbody. Upon its release in November, it became her first charting single on the Billboard Japan Hot 100 since her 2017 single, "Kira Kira". The song debuted and peaked at number 37 on the chart. On the Oricon charts, "Aldebaran" peaked at number 4 on the Daily Digital Singles Chart and number 6 on the weekly Digital Singles Chart. Ai performed "Aldebaran" at the 72nd NHK Kōhaku Uta Gassen on December 31, 2021, her fourth appearance on the show. In December 2021, Ai announced her twelfth studio album on social media, titled Dream. The nine-track album is set for release in February 2022.
Other ventures
In April 2011, Ai presented a music documentary, Ai Miss Michael Jackson: King of Pop no Kiseki, that was recorded for Music On! TV. In the documentary, she traveled to the United States and interviewed members of the Jackson family in their home.
For the American musical comedy Glee's season two episode Britney/Brittany, Ai dubbed the voice of Britney Spears in the Japanese release.
Products and endorsements
As is standard for Japanese musicians, Ai has featured as a spokesman, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.
Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."
Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishichō Keizoku Sōsahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.
Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney's box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007).
Personal life
On March 6, 2013, Ai announced her engagement to Hiro, the leader and vocalist of the rock band Kaikigesshoku. The pair had been dating for 10 years, and wed in January 2014. On August 28, 2015, Ai gave birth to her first child, a baby girl. On July 24, 2018, it was revealed Ai was pregnant with her second child. Her second child, a boy, was born on December 29, 2018.
In 2019, outdoor advertisements for Ai's single, "Summer Magic" were displayed at Shinjuku Station. The advertisement displayed a search result of her name, which showed top results for artificial intelligence (AI), while a cut off photo of Ai herself appeared on the bottom of the search result. On Twitter, Ai revealed her distaste of artificial intelligence being the top results when searching her name mononymously on search engines.
Controversy
In 2012, Ai was part of a controversy regarding the murder of Nicola Furlong. Reports from The Japan Times and Irish Independent stated James Blackston and Richard Hinds were working for Ai as performers for her Independent Tour 2012. On May 21, a day after the tour performance in Sendai, Blackston was at a dance school within the city teaching dance moves for a number of Ai songs to students. Regarding allegations of a connection to the crime, Ai and her representative team declined to make an official statement.
Discography
My Name Is Ai (2001)
Original Ai (2003)
2004 Ai (2004)
Mic-a-holic Ai (2005)
What's Goin' On Ai (2006)
Don't Stop Ai (2007)
Viva Ai (2009)
The Last Ai (2010)
Independent (2012)
Moriagaro (2013)
Wa to Yo (2017)Dream'' (2022)
Awards and nominations
References
External links
Official website
Ai on Twitter
Ai on Instagram
Ai on YouTube
1981 births
Living people
21st-century American women singers
21st-century American singers
21st-century Japanese women singers
21st-century American actresses
21st-century women rappers
21st-century Japanese singers
21st-century American rappers
21st-century Japanese actresses
People from Los Angeles
Singers from Los Angeles
Songwriters from California
People from Kagoshima
Musicians from Kagoshima Prefecture
Los Angeles County High School for the Arts alumni
Actresses from Los Angeles
American people of Italian descent
Japanese people of American descent
Japanese people of Italian descent
American musicians of Japanese descent
American women songwriters
American women pop singers
Japanese women pop singers
American hip hop singers
Japanese hip hop singers
American contemporary R&B singers
Record producers from Los Angeles
Japanese rhythm and blues singers
English-language singers from Japan
Bertelsmann Music Group artists
RCA Records artists
Universal Music Group artists
Universal Music Japan artists
Def Jam Recordings artists
Island Records artists
EMI Music Japan artists
EMI Records artists
American expatriates in Japan
Citizens of Japan through descent
Japanese women singer-songwriters
American women singer-songwriters
American rappers of Asian descent
American women rappers
Japanese rappers
Pop rappers
Women hip hop record producers
American hip hop record producers
American women record producers
Japanese women record producers
Spokespersons | false | [
"Jane Webb, also known as Jane Williams was an indentured servant in Northampton County of the Colony of Virginia. She entered a seven-year contract with Thomas Savage so that she could marry an enslave man named Left. It allowed for children born during those seven years to be bound over to Savage, but after she was free, Webb expected her children to be free. Savage used the courts to his advantage and also used stall tactics to prevent the case from being settled. In the end, Left and their children were enslaved to Savage and his heirs.\n\nEarly life\nJane Webb, born free, was a mixed-race daughter of a white woman. She worked as an indentured servant.\n\nMarriage and children\nWebb wanted to marry a black enslaved man named Left in 1703 or 1704. To do so, she entered into a signed contract with Left's enslaver, Thomas Savage, who was a slaveholder and planter. In order to marry Left, she agreed to work for Savage for seven years. During that time, if she had any children, they would serve Savage. The period of the children's servitude was not clear. At the end of the seven years, her contract would be complete, Left would be freed, and Savage would not have a claim to children born after the seven year period. While indentured to Savage, she and Left had three children, Diana or Dinah, Daniel, and Francis Webb. Under Partus sequitur ventrem, the children took their status from their mother, so they should be free. Although it was quite unusual for an enslaved person to marry, their marriage was legally valid.\n\nBackground\nFree blacks made up 10% of the population of Northampton County, Virginia. To ensure their rights, it was common for blacks to file cases in court. Unusual for the time, Webb was the head of the family household, since Left was enslaved.\n\nLegal battle\nIn 1711, Webb expected to leave Savage with Left and their children. They disagreed about the arrangement for the children and Savage would not allow Left or the children to be freed. He submitted a letter to the county court of Northampton to have the children bound to him and his heirs. The court agreed with him.\n\nWebb went to court in 1722 to have her children freed. She contented that since she was married when she had the children, they should not be enslaved. Savage did not show up in court. He said he was sick and the case was continued a term. That happened several more times. Then the case was dismissed, claiming that Webb filed a frivolous case.\n\nSavage then wanted two more children—Lisha and Abimelech—born after Webb completed of her contract. Savage contended that since she was unable to financially support the children, Savage was best suited to take care of them and to prevent them from being \"induced to take ill courses\", but their arrangement did not allow for the two children to be bound over to Savage. He could not produce the contract, but he brought witnesses who stated that the agreement with Webb was to be able to have all children born to Webb.\n\nWebb tried to free her children and Left at the chancery court in March 1725. She argued that since Webb would not produce the contract, she did not have a way to prove their arrangement. She asked that he be brought into court. On July 12, 1726, the court ruled that Lisha and Abimilech were both to Savage and Webb was arrested for allegedly stating that \"if all Virginia Negroes had as a good as heart as she had they would all be free.\" She was ordered to receive 10 lashes of the whip. In November 1726, the court told Webb that she needed to provide proof to get her children and husband; Savage claimed he never agreed to free Left. She brought African American witnesses to court in December 1726, but they were not considered admissible and were not heard. After a couple more attempts in 1727, she realized she would not win. Left, her children, and now her children remained bound to Savage and his heirs.\n\nReferences\n\nYear of birth unknown\nYear of death unknown\nPeople from Northampton County, Virginia",
"Anna Porphyrogenita (, , ; 13 March 963 – 1011) was a Grand Princess consort of Kiev; she was married to Grand Prince Vladimir the Great.\n\nAnna was the daughter of Byzantine Emperor Romanos II and the Empress Theophano. She was also the sister of Emperors Basil II Bulgaroktonos (The Bulgar-Slayer) and Constantine VIII. Anna was a Porphyrogenita, a legitimate daughter born in the special purple chamber of the Byzantine Emperor's Palace. Anna's hand was considered such a prize that some theorize that Vladimir became Christian just to marry her.\n\nAnna did not wish to marry Vladimir and expressed deep distress on her way to her wedding. Vladimir was impressed by Byzantine religious practices; this factor, along with his marriage to Anna, led to his decision to convert to Eastern Christianity. Due to these two factors, he also began Christianizing his kingdom. By marriage to Grand Prince Vladimir, Anna became Grand Princess of Kiev, but in practice, she was referred to as Queen or Czarina, probably as a sign of her membership of the Imperial Byzantine House. Anna participated actively in the Christianization of Rus: she acted as the religious adviser of Vladimir and founded a few convents and churches herself. It is not known whether she was the biological mother of any of Vladimir's children, although some scholars have pointed to evidence that she and Vladimir may have had as many as three children together. French historian, Jean-Pierre Arrignon argues that Yaroslav the Wise was in fact Anna's son, as this would explain his interference in Byzantine affairs in 1043. This view is corroborated by the study of Yaroslav's remains carried out in 1939–1940, which would place him amongst Vladimir's youngest children (with 986 as his estimated date of birth). Furthermore, Yaroslav's maternity by Rogneda of Polotsk has been questioned since Nikolay Kostomarov in the 19th century.\n\nSee also\n Family life and children of Vladimir I\n\nReferences\n\n963 births\n1011 deaths\nRussian royal consorts\n11th-century Byzantine women\n11th-century Byzantine people\nDaughters of Byzantine emperors\nMacedonian dynasty\nPorphyrogennetoi\nBurials at the Church of the Tithes\nWives of Vladimir the Great"
]
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[
"Ai (singer)",
"Products and endorsements",
"what kind of hobbies did AI have?",
"Ai has featured as a spokesperson, or has her music featured, for many products.",
"did she have any children or marry?",
"I don't know."
]
| C_202307881f694726a0dabf13f177a6de_0 | Is she still a singer today? | 3 | Is AI still a singer today? | Ai (singer) | As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs. Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know." Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang. Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER | CANNOTANSWER | , known mononymously as Ai (, stylized as AI or A.I. ), is a Japanese-American singer-songwriter, rapper, record producer, spokeswoman, and actress.
After being discovered by BMG Japan in 2000, she released her debut album, My Name is Ai (2001). Signing to Def Jam Records Japan in 2003, Ai became the first woman signed to the label. She released two studio albums under the label, Original Ai (2003) and 2004 Ai. With the release of her third studio album, Ai rose to mainstream prominence in Japan. Signing to Island Records in 2005, Ai released her fourth studio album, Mic-a-Holic Ai (2005). Its second single "Story" became one of the biggest singles of the 2000s in Japan, peaking at number 8 on the Japanese Oricon singles chart, and was the sixth single in history to receive a triple million digital certification by the Recording Industry Association of Japan (RIAJ).
Ai's fifth studio album, What's Goin' On Ai (2006), featured the top-ten singles "Believe" and "I Wanna Know", the latter receiving a Gold certification from the RIAJ. Her sixth studio album, Don't Stop Ai (2007) saw similar success, which received a Gold certification. In 2009, she released her seventh studio album, Viva Ai, which charted in the top ten of the Japanese Oricon albums chart. Ai's compilation album, Best Ai (2009), became her first number one album and was certified Platinum. In 2010, she released her eighth studio album, The Last Ai, which marked her last release under Island Records.
In 2011, Ai left Universal Music Group and signed a global publishing deal with EMI. Her Gold certified ninth studio album Independent (2012) served as her international debut and first release under EMI Music Japan. To promote the album, Ai toured in Japan and her hometown, Los Angeles, California. Her tenth studio album Moriagaro (2013) marked her first release under EMI Records Japan following EMI Music Japan's absorption into Universal Music Japan as a sublabel. Her fourth compilation album, The Best (2015) peaked at number 3 on the Oricon Albums chart and number 2 on the Billboard Japan Hot Albums chart, later being certified Gold by the RIAJ. Its successor, The Feat. Best (2016) charted within the top 30 of both the Japan Hot Albums and Oricon Albums chart.
Ai's eleventh studio album, Wa to Yo (2017) experimented with traditional Japanese and electronic sounds. Its second single, "Kira Kira" was nominated for the Grand Prix award and won the Excellent Works Award at the 59th Japan Records Awards. Her sixth compilation album Kansha!!!!! - Thank You for 20 Years New and Best (2019) was issued to celebrate her twenty years in the music industry. Further celebrating her twenty year anniversary, Ai released the extended plays It's All Me, Vol. 1 (2020) and It's All Me, Vol. 2 (2021). In December 2021, Ai announced her twelfth studio album, Dream. The album is set for release in February 2022.
Early life and education
Ai was born in Los Angeles in 1981. Her father is Japanese and her mother is American of Italian and Native Okinawan descent. She moved to Kagoshima in Japan when she was 4, and went to elementary school and junior high school in Japan.
Ai was motivated to become a singer in her early teens, after singing at a cousin's wedding, having many people ask her if she wanted to be a professional singer, and hearing a gospel performance at the First African Methodist Episcopal Church of Los Angeles in 1993. After graduating from junior high school in Japan, Ai returned to Los Angeles for high school, enrolling at Glendale High School, however found high school difficult due to never formally studying English. After making it through the audition process, she switched to the Los Angeles County High School for the Arts, majoring in ballet. She became a member of the school's gospel choir. In 1998, she performed in a gospel choir at a Mary J. Blige concert at the Universal Amphitheatre, performing of "A Dream." In the same year, she appeared as a dancer in the music video for Janet Jackson's song "Go Deep."
Career
1999–2004: SX4, BMG Japan, move to Universal
In 1999, she joined an Asian girl group called SX4, who were produced by George Brown of Kool & the Gang. Ai was a member of the group for two years, and later in 1999 the group were offered a record label deal. While on her summer holiday in Kagoshima, she performed Monica's "For You I Will" on a local radio station, which led to her being scouted by BMG Japan. She decided to take the offer, and after leaving SX4 and graduating from high school in June 2000, moved to Tokyo and debuted as a musician later in 2000.
Ai debuted under BMG Japan with the single "Cry, Just Cry" in November 2000. Between then and November 2001, she released three singles, culminating in her debut album, My Name Is Ai. However, the releases were not very commercially successful, and the album debuted at number 86.
In 2002 she moved to Def Jam Japan as the first female artist signed to the label. Ai has said that she felt more at home under Def Jam, as many of her co-workers shared her musical tastes. Her first album under the label in 2003 Original Ai debuted at 15 on Oricon'''s album charts, and her second, 2004 Ai, debuted at number three. In 2004, she won the Space Shower Music Video Awards' award for Best R&B Video, with her song "Thank U."
After moving to Def Jam, Ai increasingly began collaborating with musicians, especially Japanese hip-hop and rap artists (though under BMG Japan, Ai had collaborated with Mao Denda, and Soul'd Out rapper Diggy-Mo'). She was featured as a rapper on the Suite Chic single "Uh Uh,,,,,", a collaboration between Namie Amuro, Verbal of M-Flo, and music producer Ryōsuke Imai in 2003. Other musicians Ai collaborated with in this period were Afra, Boy-Ken, Joe Budden, Dabo, Deli, Double, Heartsdales, Ken Hirai, M-Flo, Sphere of Influence and Zeebra. Ai's collaborations featured her either as a rapper or a singer.
2005–2010: "Story", rise in fame
In 2005, Ai released the ballad single "Story", which became the biggest hit of her career. It was a sleeper hit, charting for 20 weeks in the top 30 in 2005 and 2006, however went on to sell over three million ringtones, one million cellphone downloads, and 270,000 physical copies. Ai later performed "Story" at the prestigious 56th NHK Kōhaku Uta Gassen New Years music concert. Her next studio album, Mic-a-holic Ai, was the best selling album of her career, being certified double platinum by the RIAJ.
Ai's first single of 2006, the ballad "Believe", was also a success: it debuted at number two, and sold more than one million ringtones. The song was used as the theme song of the Kenji Sakaguchi starring medical drama, Team Medical Dragon. Her next two albums, What's Goin' On Ai (2006) and Don't Stop Ai (2007) were also greatly commercially successful, being certified platinum and gold respectively.
In 2009, Ai released her greatest hits album, Best Ai. It was the first number one record of her career. In 2010, Ai collaborated with many artists such as Namie Amuro, Miliyah Kato, Chaka Khan and Boyz II Men on her 10th anniversary album, The Last Ai.
To the end of Ai's career with Universal, her album sales began to decrease. Viva Ai (2009) debuted at number 10, and The Last Ai (2010) at 14 (despite her gold hit from the album, "Fake" featuring Namie Amuro).
2011–2016: Independent, Moriagaro and The Best
In June 2011, Ai signed with EMI Music Japan. She collaborated with The Jacksons on December 13 and 14, 2011, at the Michael Jackson Tribute Live tribute concerts held in Tokyo. She performed the vocals in the third act for Michael Jackson's songs. She also performed and released the theme song for the event, "Letter in the Sky" featuring the Jacksons. In November 2011, Ai released the song "Happiness", a collaboration with Coca-Cola for their winter 2011 campaign. The song was a hit, being certified gold in two different mediums. The song revitalized the sales of her ninth studio album, Independent, which has sold more than 60,000 copies. Independent was Ai's first album to be released internationally outside of Asia.
On April 1, 2013, EMI Music Japan was completely merged into Universal Music Japan as a sublabel by the name of EMI Records Japan as a result of Universal Music's purchase of EMI in September 2012. Ai's tenth studio album, Moriagaro, was released in July 2013, serving as her first release under EMI Japan, although was not released outside of Asia.
A previously unreleased English version of Ai's single "Story" was featured in the Japanese dub of the Disney film Big Hero 6 in October 2014.
In November 2015, Ai released a compilation album, The Best, to celebrate fifteen years in the music industry. The compilation album was reissued in mid-2016. A third compilation release of tracks with featured artists titled The Feat. Best was issued in November 2016.
2017–present: Wa to Yo, twenty-year anniversary and Dream
Ai teased her eleventh studio album, Wa to Yo on social media in April 2017. Wanting to "convey the goodness of Japan" to the rest of the world and "the goodness of the overseas to Japanese people", Ai collaborated with several producers, artists and songwriters from both Japan and the west. The lead single "Justice Will Prevail at Last" was released in May 2017. Wa to Yo was released in June 2017 and was her second international album release outside of Asia. The album was reissued in October 2017, titled Wa to Yo to. The album peaked at number 11 on the Oricon weekly chart.
In early 2019, Ai traveled to her hometown, Los Angeles, California, to record new material to celebrate twenty years in the music industry and for the 2020 Tokyo Summer Olympics. Her fourth compilation album, Kansha!!!!! - Thank You for 20 Years New and Best, was released in November 2019, serving as her first international compilation release. Ai's extended play, It's All Me, Vol. 1 was planned to be released on the start of the 2020 Olympics, but instead was released on July 8, 2020 after the event was postponed to summer 2021 due to the COVID-19 pandemic. The lead single of It's All Me, Vol. 1, "Summer Magic" was her first single to be released internationally. Its Japanese version was included in an advertisement for the Amazon Echo. In November 2020, "Not So Different" was released digitally as the lead single for Ai's extended play, It's All Me, Vol. 2. In December 2020, Ai partnered with One Young World and released a special music video of the song in support of the project. A remix of "Not So Different" featuring Japanese rapper Awich was released on December 11, 2020 as a promotional single. The second single, "Hope" was released on January 30, 2021 with its music video premiering the same day. Ai partnered with deleteC, a non-profit organization in Japan aiming to support cancer treatment. It's All Me, Vol. 2 later was released in February 2021. In March 2021, EMI released a compilation EP of songs by Ai titled Self Selection "Hip Hop". In June 2021, Ai's previous releases with her former label, Universal Sigma, were made available internationally for digital streaming.
On June 28, 2021, Ai released "The Moment" featuring Japanese rapper Yellow Bucks. On the same day, she performed the song with Yellow Bucks and DJ Ryow on CDTV, a Japanese TV channel by TBS. In August 2021, she released a single featuring Dachi Miura, titled "In the Middle". In September 2021, Ai announced her next single, "Aldebaran". The song serves as the theme song for the NHK television drama, Come Come Everbody. Upon its release in November, it became her first charting single on the Billboard Japan Hot 100 since her 2017 single, "Kira Kira". The song debuted and peaked at number 37 on the chart. On the Oricon charts, "Aldebaran" peaked at number 4 on the Daily Digital Singles Chart and number 6 on the weekly Digital Singles Chart. Ai performed "Aldebaran" at the 72nd NHK Kōhaku Uta Gassen on December 31, 2021, her fourth appearance on the show. In December 2021, Ai announced her twelfth studio album on social media, titled Dream. The nine-track album is set for release in February 2022.
Other ventures
In April 2011, Ai presented a music documentary, Ai Miss Michael Jackson: King of Pop no Kiseki, that was recorded for Music On! TV. In the documentary, she traveled to the United States and interviewed members of the Jackson family in their home.
For the American musical comedy Glee's season two episode Britney/Brittany, Ai dubbed the voice of Britney Spears in the Japanese release.
Products and endorsements
As is standard for Japanese musicians, Ai has featured as a spokesman, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.
Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."
Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishichō Keizoku Sōsahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.
Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney's box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007).
Personal life
On March 6, 2013, Ai announced her engagement to Hiro, the leader and vocalist of the rock band Kaikigesshoku. The pair had been dating for 10 years, and wed in January 2014. On August 28, 2015, Ai gave birth to her first child, a baby girl. On July 24, 2018, it was revealed Ai was pregnant with her second child. Her second child, a boy, was born on December 29, 2018.
In 2019, outdoor advertisements for Ai's single, "Summer Magic" were displayed at Shinjuku Station. The advertisement displayed a search result of her name, which showed top results for artificial intelligence (AI), while a cut off photo of Ai herself appeared on the bottom of the search result. On Twitter, Ai revealed her distaste of artificial intelligence being the top results when searching her name mononymously on search engines.
Controversy
In 2012, Ai was part of a controversy regarding the murder of Nicola Furlong. Reports from The Japan Times and Irish Independent stated James Blackston and Richard Hinds were working for Ai as performers for her Independent Tour 2012. On May 21, a day after the tour performance in Sendai, Blackston was at a dance school within the city teaching dance moves for a number of Ai songs to students. Regarding allegations of a connection to the crime, Ai and her representative team declined to make an official statement.
Discography
My Name Is Ai (2001)
Original Ai (2003)
2004 Ai (2004)
Mic-a-holic Ai (2005)
What's Goin' On Ai (2006)
Don't Stop Ai (2007)
Viva Ai (2009)
The Last Ai (2010)
Independent (2012)
Moriagaro (2013)
Wa to Yo (2017)Dream'' (2022)
Awards and nominations
References
External links
Official website
Ai on Twitter
Ai on Instagram
Ai on YouTube
1981 births
Living people
21st-century American women singers
21st-century American singers
21st-century Japanese women singers
21st-century American actresses
21st-century women rappers
21st-century Japanese singers
21st-century American rappers
21st-century Japanese actresses
People from Los Angeles
Singers from Los Angeles
Songwriters from California
People from Kagoshima
Musicians from Kagoshima Prefecture
Los Angeles County High School for the Arts alumni
Actresses from Los Angeles
American people of Italian descent
Japanese people of American descent
Japanese people of Italian descent
American musicians of Japanese descent
American women songwriters
American women pop singers
Japanese women pop singers
American hip hop singers
Japanese hip hop singers
American contemporary R&B singers
Record producers from Los Angeles
Japanese rhythm and blues singers
English-language singers from Japan
Bertelsmann Music Group artists
RCA Records artists
Universal Music Group artists
Universal Music Japan artists
Def Jam Recordings artists
Island Records artists
EMI Music Japan artists
EMI Records artists
American expatriates in Japan
Citizens of Japan through descent
Japanese women singer-songwriters
American women singer-songwriters
American rappers of Asian descent
American women rappers
Japanese rappers
Pop rappers
Women hip hop record producers
American hip hop record producers
American women record producers
Japanese women record producers
Spokespersons | false | [
"Yesterday, Today, and Tomorrow is a 1984 country double album by Bill Anderson. The album produced three charting singles: \"Wino the Clown\" (#58), \"Pity Party\" (#62) and \"When You Leave That Way You Can Never Go Back\" (#75).\n\nTrack listing\n\nNew Hits\n\t\"Pity Party\" – 3:15\n\t\"This Is the Goodbye (To End All Goodbyes)\" – 3:23\n\t\"Wino the Clown\" – 3:56\n\t\"I Never Lie to Ruby\" – 3:19\n\t\"Country Music Died Today\" – 3:25\n\t\"When You Leave That Way (You Can Never Go Back)\" – 3:45\n\t\"With Her\" – 2:42\n\t\"Lorene\" – 3:04\n\t\"Second Thoughts\" – 2:31\n\t\"The Years Fall Away\" – 3:20\nPast Hits\n\t\"Don't She Look Good\" – 2:07\n\t\"Still\" – 2:49\n\t\"Double \"S\"\" – 4:30\n\t\"Wild Weekend\" – 2:20\n\t\"Mama Sang a Song\" – 3:27\n\t\"Quits\" – 2:26\n\t\"Golden Guitar\" – 4:04\n\t\"Po' Folks\" – 2:56\n\t\"Five Little Fingers\" – 3:12\n\t\"I Love You Drops\" – 2:36\n\nReferences\n\n1984 albums\nBill Anderson (singer) albums",
"Fatima Rainey (born 24 July 1967) is a Swedish pop singer.\n\nRainey has released two studio albums through Warner Music Group of Japan. She was married to the Swedish actor and stand-up comedian Claes Malmberg.\n\nHer 1998 song \"Hey\" became a huge hit in South Africa and still popular till today. Also a dance hit in the Philippines.\n\nDiscography\n\nAlbums\n1997: Love Is a Wonderful Thing\n2001: Celebration\n\nCompilations \n1997: The Remix Collection\n\nSingles\n1997: \"Love Is a Wonderful Thing\"\n1997: \"I Gave You the Best\" (Remix)\n1997: \"Find Our Way Back\"\n1998: \"Hey\"\n\nReferences\n\nExternal links\n Warner Music Japan discography\n Interview with Fatima Rainey \n\n1967 births\nLiving people\nSwedish pop singers\nSwedish women singers\nEnglish-language singers from Sweden"
]
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"Ai (singer)",
"Products and endorsements",
"what kind of hobbies did AI have?",
"Ai has featured as a spokesperson, or has her music featured, for many products.",
"did she have any children or marry?",
"I don't know.",
"Is she still a singer today?",
"I don't know."
]
| C_202307881f694726a0dabf13f177a6de_0 | Did she ever win any awards or recognition? | 4 | Did AI ever win any awards or recognition? | Ai (singer) | As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs. Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know." Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang. Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER | Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. | , known mononymously as Ai (, stylized as AI or A.I. ), is a Japanese-American singer-songwriter, rapper, record producer, spokeswoman, and actress.
After being discovered by BMG Japan in 2000, she released her debut album, My Name is Ai (2001). Signing to Def Jam Records Japan in 2003, Ai became the first woman signed to the label. She released two studio albums under the label, Original Ai (2003) and 2004 Ai. With the release of her third studio album, Ai rose to mainstream prominence in Japan. Signing to Island Records in 2005, Ai released her fourth studio album, Mic-a-Holic Ai (2005). Its second single "Story" became one of the biggest singles of the 2000s in Japan, peaking at number 8 on the Japanese Oricon singles chart, and was the sixth single in history to receive a triple million digital certification by the Recording Industry Association of Japan (RIAJ).
Ai's fifth studio album, What's Goin' On Ai (2006), featured the top-ten singles "Believe" and "I Wanna Know", the latter receiving a Gold certification from the RIAJ. Her sixth studio album, Don't Stop Ai (2007) saw similar success, which received a Gold certification. In 2009, she released her seventh studio album, Viva Ai, which charted in the top ten of the Japanese Oricon albums chart. Ai's compilation album, Best Ai (2009), became her first number one album and was certified Platinum. In 2010, she released her eighth studio album, The Last Ai, which marked her last release under Island Records.
In 2011, Ai left Universal Music Group and signed a global publishing deal with EMI. Her Gold certified ninth studio album Independent (2012) served as her international debut and first release under EMI Music Japan. To promote the album, Ai toured in Japan and her hometown, Los Angeles, California. Her tenth studio album Moriagaro (2013) marked her first release under EMI Records Japan following EMI Music Japan's absorption into Universal Music Japan as a sublabel. Her fourth compilation album, The Best (2015) peaked at number 3 on the Oricon Albums chart and number 2 on the Billboard Japan Hot Albums chart, later being certified Gold by the RIAJ. Its successor, The Feat. Best (2016) charted within the top 30 of both the Japan Hot Albums and Oricon Albums chart.
Ai's eleventh studio album, Wa to Yo (2017) experimented with traditional Japanese and electronic sounds. Its second single, "Kira Kira" was nominated for the Grand Prix award and won the Excellent Works Award at the 59th Japan Records Awards. Her sixth compilation album Kansha!!!!! - Thank You for 20 Years New and Best (2019) was issued to celebrate her twenty years in the music industry. Further celebrating her twenty year anniversary, Ai released the extended plays It's All Me, Vol. 1 (2020) and It's All Me, Vol. 2 (2021). In December 2021, Ai announced her twelfth studio album, Dream. The album is set for release in February 2022.
Early life and education
Ai was born in Los Angeles in 1981. Her father is Japanese and her mother is American of Italian and Native Okinawan descent. She moved to Kagoshima in Japan when she was 4, and went to elementary school and junior high school in Japan.
Ai was motivated to become a singer in her early teens, after singing at a cousin's wedding, having many people ask her if she wanted to be a professional singer, and hearing a gospel performance at the First African Methodist Episcopal Church of Los Angeles in 1993. After graduating from junior high school in Japan, Ai returned to Los Angeles for high school, enrolling at Glendale High School, however found high school difficult due to never formally studying English. After making it through the audition process, she switched to the Los Angeles County High School for the Arts, majoring in ballet. She became a member of the school's gospel choir. In 1998, she performed in a gospel choir at a Mary J. Blige concert at the Universal Amphitheatre, performing of "A Dream." In the same year, she appeared as a dancer in the music video for Janet Jackson's song "Go Deep."
Career
1999–2004: SX4, BMG Japan, move to Universal
In 1999, she joined an Asian girl group called SX4, who were produced by George Brown of Kool & the Gang. Ai was a member of the group for two years, and later in 1999 the group were offered a record label deal. While on her summer holiday in Kagoshima, she performed Monica's "For You I Will" on a local radio station, which led to her being scouted by BMG Japan. She decided to take the offer, and after leaving SX4 and graduating from high school in June 2000, moved to Tokyo and debuted as a musician later in 2000.
Ai debuted under BMG Japan with the single "Cry, Just Cry" in November 2000. Between then and November 2001, she released three singles, culminating in her debut album, My Name Is Ai. However, the releases were not very commercially successful, and the album debuted at number 86.
In 2002 she moved to Def Jam Japan as the first female artist signed to the label. Ai has said that she felt more at home under Def Jam, as many of her co-workers shared her musical tastes. Her first album under the label in 2003 Original Ai debuted at 15 on Oricon'''s album charts, and her second, 2004 Ai, debuted at number three. In 2004, she won the Space Shower Music Video Awards' award for Best R&B Video, with her song "Thank U."
After moving to Def Jam, Ai increasingly began collaborating with musicians, especially Japanese hip-hop and rap artists (though under BMG Japan, Ai had collaborated with Mao Denda, and Soul'd Out rapper Diggy-Mo'). She was featured as a rapper on the Suite Chic single "Uh Uh,,,,,", a collaboration between Namie Amuro, Verbal of M-Flo, and music producer Ryōsuke Imai in 2003. Other musicians Ai collaborated with in this period were Afra, Boy-Ken, Joe Budden, Dabo, Deli, Double, Heartsdales, Ken Hirai, M-Flo, Sphere of Influence and Zeebra. Ai's collaborations featured her either as a rapper or a singer.
2005–2010: "Story", rise in fame
In 2005, Ai released the ballad single "Story", which became the biggest hit of her career. It was a sleeper hit, charting for 20 weeks in the top 30 in 2005 and 2006, however went on to sell over three million ringtones, one million cellphone downloads, and 270,000 physical copies. Ai later performed "Story" at the prestigious 56th NHK Kōhaku Uta Gassen New Years music concert. Her next studio album, Mic-a-holic Ai, was the best selling album of her career, being certified double platinum by the RIAJ.
Ai's first single of 2006, the ballad "Believe", was also a success: it debuted at number two, and sold more than one million ringtones. The song was used as the theme song of the Kenji Sakaguchi starring medical drama, Team Medical Dragon. Her next two albums, What's Goin' On Ai (2006) and Don't Stop Ai (2007) were also greatly commercially successful, being certified platinum and gold respectively.
In 2009, Ai released her greatest hits album, Best Ai. It was the first number one record of her career. In 2010, Ai collaborated with many artists such as Namie Amuro, Miliyah Kato, Chaka Khan and Boyz II Men on her 10th anniversary album, The Last Ai.
To the end of Ai's career with Universal, her album sales began to decrease. Viva Ai (2009) debuted at number 10, and The Last Ai (2010) at 14 (despite her gold hit from the album, "Fake" featuring Namie Amuro).
2011–2016: Independent, Moriagaro and The Best
In June 2011, Ai signed with EMI Music Japan. She collaborated with The Jacksons on December 13 and 14, 2011, at the Michael Jackson Tribute Live tribute concerts held in Tokyo. She performed the vocals in the third act for Michael Jackson's songs. She also performed and released the theme song for the event, "Letter in the Sky" featuring the Jacksons. In November 2011, Ai released the song "Happiness", a collaboration with Coca-Cola for their winter 2011 campaign. The song was a hit, being certified gold in two different mediums. The song revitalized the sales of her ninth studio album, Independent, which has sold more than 60,000 copies. Independent was Ai's first album to be released internationally outside of Asia.
On April 1, 2013, EMI Music Japan was completely merged into Universal Music Japan as a sublabel by the name of EMI Records Japan as a result of Universal Music's purchase of EMI in September 2012. Ai's tenth studio album, Moriagaro, was released in July 2013, serving as her first release under EMI Japan, although was not released outside of Asia.
A previously unreleased English version of Ai's single "Story" was featured in the Japanese dub of the Disney film Big Hero 6 in October 2014.
In November 2015, Ai released a compilation album, The Best, to celebrate fifteen years in the music industry. The compilation album was reissued in mid-2016. A third compilation release of tracks with featured artists titled The Feat. Best was issued in November 2016.
2017–present: Wa to Yo, twenty-year anniversary and Dream
Ai teased her eleventh studio album, Wa to Yo on social media in April 2017. Wanting to "convey the goodness of Japan" to the rest of the world and "the goodness of the overseas to Japanese people", Ai collaborated with several producers, artists and songwriters from both Japan and the west. The lead single "Justice Will Prevail at Last" was released in May 2017. Wa to Yo was released in June 2017 and was her second international album release outside of Asia. The album was reissued in October 2017, titled Wa to Yo to. The album peaked at number 11 on the Oricon weekly chart.
In early 2019, Ai traveled to her hometown, Los Angeles, California, to record new material to celebrate twenty years in the music industry and for the 2020 Tokyo Summer Olympics. Her fourth compilation album, Kansha!!!!! - Thank You for 20 Years New and Best, was released in November 2019, serving as her first international compilation release. Ai's extended play, It's All Me, Vol. 1 was planned to be released on the start of the 2020 Olympics, but instead was released on July 8, 2020 after the event was postponed to summer 2021 due to the COVID-19 pandemic. The lead single of It's All Me, Vol. 1, "Summer Magic" was her first single to be released internationally. Its Japanese version was included in an advertisement for the Amazon Echo. In November 2020, "Not So Different" was released digitally as the lead single for Ai's extended play, It's All Me, Vol. 2. In December 2020, Ai partnered with One Young World and released a special music video of the song in support of the project. A remix of "Not So Different" featuring Japanese rapper Awich was released on December 11, 2020 as a promotional single. The second single, "Hope" was released on January 30, 2021 with its music video premiering the same day. Ai partnered with deleteC, a non-profit organization in Japan aiming to support cancer treatment. It's All Me, Vol. 2 later was released in February 2021. In March 2021, EMI released a compilation EP of songs by Ai titled Self Selection "Hip Hop". In June 2021, Ai's previous releases with her former label, Universal Sigma, were made available internationally for digital streaming.
On June 28, 2021, Ai released "The Moment" featuring Japanese rapper Yellow Bucks. On the same day, she performed the song with Yellow Bucks and DJ Ryow on CDTV, a Japanese TV channel by TBS. In August 2021, she released a single featuring Dachi Miura, titled "In the Middle". In September 2021, Ai announced her next single, "Aldebaran". The song serves as the theme song for the NHK television drama, Come Come Everbody. Upon its release in November, it became her first charting single on the Billboard Japan Hot 100 since her 2017 single, "Kira Kira". The song debuted and peaked at number 37 on the chart. On the Oricon charts, "Aldebaran" peaked at number 4 on the Daily Digital Singles Chart and number 6 on the weekly Digital Singles Chart. Ai performed "Aldebaran" at the 72nd NHK Kōhaku Uta Gassen on December 31, 2021, her fourth appearance on the show. In December 2021, Ai announced her twelfth studio album on social media, titled Dream. The nine-track album is set for release in February 2022.
Other ventures
In April 2011, Ai presented a music documentary, Ai Miss Michael Jackson: King of Pop no Kiseki, that was recorded for Music On! TV. In the documentary, she traveled to the United States and interviewed members of the Jackson family in their home.
For the American musical comedy Glee's season two episode Britney/Brittany, Ai dubbed the voice of Britney Spears in the Japanese release.
Products and endorsements
As is standard for Japanese musicians, Ai has featured as a spokesman, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.
Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."
Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishichō Keizoku Sōsahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.
Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney's box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007).
Personal life
On March 6, 2013, Ai announced her engagement to Hiro, the leader and vocalist of the rock band Kaikigesshoku. The pair had been dating for 10 years, and wed in January 2014. On August 28, 2015, Ai gave birth to her first child, a baby girl. On July 24, 2018, it was revealed Ai was pregnant with her second child. Her second child, a boy, was born on December 29, 2018.
In 2019, outdoor advertisements for Ai's single, "Summer Magic" were displayed at Shinjuku Station. The advertisement displayed a search result of her name, which showed top results for artificial intelligence (AI), while a cut off photo of Ai herself appeared on the bottom of the search result. On Twitter, Ai revealed her distaste of artificial intelligence being the top results when searching her name mononymously on search engines.
Controversy
In 2012, Ai was part of a controversy regarding the murder of Nicola Furlong. Reports from The Japan Times and Irish Independent stated James Blackston and Richard Hinds were working for Ai as performers for her Independent Tour 2012. On May 21, a day after the tour performance in Sendai, Blackston was at a dance school within the city teaching dance moves for a number of Ai songs to students. Regarding allegations of a connection to the crime, Ai and her representative team declined to make an official statement.
Discography
My Name Is Ai (2001)
Original Ai (2003)
2004 Ai (2004)
Mic-a-holic Ai (2005)
What's Goin' On Ai (2006)
Don't Stop Ai (2007)
Viva Ai (2009)
The Last Ai (2010)
Independent (2012)
Moriagaro (2013)
Wa to Yo (2017)Dream'' (2022)
Awards and nominations
References
External links
Official website
Ai on Twitter
Ai on Instagram
Ai on YouTube
1981 births
Living people
21st-century American women singers
21st-century American singers
21st-century Japanese women singers
21st-century American actresses
21st-century women rappers
21st-century Japanese singers
21st-century American rappers
21st-century Japanese actresses
People from Los Angeles
Singers from Los Angeles
Songwriters from California
People from Kagoshima
Musicians from Kagoshima Prefecture
Los Angeles County High School for the Arts alumni
Actresses from Los Angeles
American people of Italian descent
Japanese people of American descent
Japanese people of Italian descent
American musicians of Japanese descent
American women songwriters
American women pop singers
Japanese women pop singers
American hip hop singers
Japanese hip hop singers
American contemporary R&B singers
Record producers from Los Angeles
Japanese rhythm and blues singers
English-language singers from Japan
Bertelsmann Music Group artists
RCA Records artists
Universal Music Group artists
Universal Music Japan artists
Def Jam Recordings artists
Island Records artists
EMI Music Japan artists
EMI Records artists
American expatriates in Japan
Citizens of Japan through descent
Japanese women singer-songwriters
American women singer-songwriters
American rappers of Asian descent
American women rappers
Japanese rappers
Pop rappers
Women hip hop record producers
American hip hop record producers
American women record producers
Japanese women record producers
Spokespersons | false | [
"The Wire is an American crime drama television series created by David Simon and broadcast by the cable network HBO. It premiered on June 2, 2002, and ended on March 9, 2008, comprising sixty episodes over five seasons. Set in Baltimore, Maryland, The Wire follows different institutions within the city, such as the illegal drug trade, the education system, and the media, and their relationships to law enforcement. The series features a diverse ensemble cast of both veteran and novice actors; the large number of black actors was considered groundbreaking for the time.\n\nThe Wire has been widely hailed as one of the greatest television series of all time. Despite the critical acclaim, however, the show received relatively few awards during its run. It was nominated for only two Primetime Emmy Awards – both for Outstanding Writing for a Drama Series – and did not win any. Many have called its lack of recognition, especially in the Outstanding Drama Series category, one of the biggest Emmys snubs ever. Some have argued the lack of recognition was due to the show's dense plots and a disconnect between the setting and Los Angeles-based voters.\n\nOutside of the Emmys, The Wire won a Writers Guild of America Award for Television: Dramatic Series in 2008, as well as a Directors Guild of America Award for the episode \"Transitions\" in 2009. It was thrice named one of the top television programs of the year by the American Film Institute and received a Peabody Award in 2004. The series was nominated for sixteen NAACP Image Awards but never won one. It was also nominated for ten Television Critics Association Awards, with its only win coming in 2008 for the group's Heritage Award.\n\nAwards and nominations\n\nNotes\n\nNominees for awards\n\nOther\n\nReferences\n\nExternal links\n \n\nAwards and nominations\nWire",
"The following is a list of awards and nominations received by English actor Helen Mirren, whose career has spanned five decades, with recognition for her work in film, television, and on stage.\n\nAmong her major competitive awards, Mirren has won one Academy Award, four BAFTA Awards, three Golden Globe Awards, four Primetime Emmy Awards, and one Tony Award. Mirren is one of few actresses to have achieved the Triple Crown of Acting, which is competitive Academy Award, Emmy Award, and Tony Award wins in the acting categories. She has also received numerous honorary awards, including the BAFTA Fellowship and Gala Tribute presented by the Film Society of Lincoln Center.\n\nFilm awards\n\nAcademy Awards\n1 win out of 4 nominations\n\nBritish Academy Film Awards\n1 win out of 5 nominations\n\nBritish Independent Film Awards\n1 nomination\n\nCritics' Choice Movie Awards\n2 wins out of 3 nominations\n\nEuropean Film Awards\n1 win out of 2 nominations\n\nEvening Standard British Film Awards\n1 win out of 1 nomination\n\nGolden Globe Awards\n1 win out of 8 nominations\n\nGolden Raspberry Awards\n1 nomination\n\nIndependent Spirit Awards\n1 nomination\n\nSatellite Awards\n2 wins out of 7 nominations\n\nSaturn Awards\n3 nominations\n\nScreen Actors Guild Awards\n3 wins out of 8 nominations\n\nMajor critics award wins\n\nMajor Festival awards\n\nTelevision awards\n\nBritish Academy Television Awards\n3 wins out of 6 nominations\n\nEmmy Awards\n4 wins out of 11 nominations (Primetime Emmys)\n\nGolden Globe Awards\n2 wins out of 8 nominations\n\nSatellite Awards\n2 wins out of 7 nominations\n\nScreen Actors Guild Awards\n2 wins out of 5 nominations\n\nTheatre awards\n\nDrama Desk Awards\n1 win out of 2 nominations\n\nOlivier Awards\n1 win out of 4 nominations\n\nTony Awards\n1 win out of 3 nominations\n\nMiscellaneous awards\n\nOther achievements\n\nHonours\nMirren was invested as a Dame Commander of the Most Excellent Order of the British Empire (DBE) in the 2003 Birthday Honours for services to drama. When she received the honour, Mirren commented that Prince Charles was \"very graceful\", but forgot to give her half of the award. Another person had to remind him to give Mirren the star. She also said that she felt wary about accepting the award, and had to be persuaded by comrades to accept the damehood. In 1996, she had declined appointment as a Commander of the order (CBE).\n\nFurther recognition\n\nHollywood Walk of Fame\nOn 3 January 2013, Mirren received a star on the Hollywood Walk of Fame, located at 6714 Hollywood Boulevard, in front of the Pig 'n Whistle, and joked about her star's proximity to that of The King's Speech actor Colin Firth, stating: \"I couldn't be prouder and more happy that I'm actually going to finally lie next to Colin Firth, something I've been wanting to do for a very long time.\"\n\nHonorary degrees\nDame Helen Mirren has been awarded several honorary degrees, in recognition of her acting career and her promotion of educational and charitable initiatives. These include:\n\nReferences\n\nMirren, Helen"
]
|
[
"Marc Chagall",
"Art education"
]
| C_fb39cb009c7c428b96355283503ac7ff_1 | What did this lead him to do | 1 | What did Art education lead Marc Chagall to do? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
1985 deaths
People from Liozna District
People from Orshansky Uyezd
Belarusian Jews
Painters of the Russian Empire
Russian male painters
Artists of the Russian Empire
Soviet painters
Belarusian painters
20th-century French painters
20th-century male artists
French male painters
Jewish painters
Modern painters
Neo-primitivism
Russian avant-garde
Russian stained glass artists and manufacturers
Yiddish-language poets
Wolf Prize in Arts laureates
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French Freemasons
Members of the Grand Orient of Russia’s Peoples
Jewish School of Paris
Grand Croix of the Légion d'honneur
Members of the Royal Academy of Belgium
French tapestry artists
Emigrants from the Russian Empire to the United States
Honorary Members of the Royal Academy
Russian textile artists
Naturalized citizens of France | false | [
"\"What Faith Can Do\" is a song by American Christian rock band Kutless from their 2009 album It Is Well. It was released on September 24, 2009, as the lead single. The song became the group's first Hot Christian Songs No. 1, staying there for eight weeks. It lasted 47 weeks on the overall chart. The song is played in a D major key at 138 beats per minute.\n\nBackground \n\"What Faith Can Do\" was released on September 24, 2009, as the lead single for their sixth studio album It Is Well. The song's purpose is to encourage the listener that God's power is real and what is can do for you. The band's lead singer, Jon Micah Sumrall, told NewReleaseToday more behind the track,\"That song seems to be an example of touching people and us as a band in the 'right place at the right time.' The song is all about putting all of our hope and trust in God, and the song is encouraging to us as a band. We've had some crazy things happen to us this past year, and the song reminds me of that picture of the two sets of footprints in the sand and when there is only one set of footprints, that's when Jesus is carrying us. 'What Can Faith Do' has become an inspirational banner song for anyone who has been struggling with major battles or life issues. It's been a huge success, and we felt very blessed when we heard stories about how the message has impacted people's lives.\" He also included: \"'What Faith Can Do' reminds believers that God is always here. Never forget that. In times of great happiness or great struggle, He remains faithful. Remain faithful to Him. Turn to Him and believe that nothing is impossible with God. That's what faith can do. The take-away message is to know that God cares for you personally and that He wants a personal relationship with each and every one of us. For believers, the song is a reminder about making a faithful commitment to live with the kind of faith that God calls each of us to have.\"\n\nMusic video \nThe music video for the single \"What Faith Can Do\" was released on February 12, 2010.\n\nTrack listing\nCD release\n \"What Faith Can Do\" – 3:58\n \"What Faith Can Do (Medium Key Performance Track with Background Vocals)\" – 3:58\n \"What Faith Can Do (High Key Performance Track / No Background Vocals)\" – 3:58\n \"What Faith Can Do (Medium Key Performance Track / No Background Vocals)\" – 3:58\n \"What Faith Can Do (High Key Performance Track / No Background Vocals)\" – 3:53\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nDecade-end charts\n\nReferences\n\n2009 songs\n2009 singles\nKutless songs\nSongs written by Scott Krippayne",
"is a real-time strategy game for the PlayStation Portable. The game centers on creating mazes and monsters to help defend a demon lord from heroes seeking to capture him.\n\nThe game was released in North America exclusively as a download game on the PlayStation Store, under the title Holy Invasion of Privacy, Badman! What Did I Do To Deserve This?. However, on February 9, 2010, NIS America revealed it would be changing the game's name to avoid conflict with the Batman franchise. The game was re-released on April 22, 2010 on the PlayStation Network after it was removed to make the changes, while its sequel, What Did I Do to Deserve This, My Lord? 2, had been delayed to May 4, 2010.\n\nGameplay \nUsing a limited number of \"Dig Power\" and a pickaxe, the player must dig and create a dungeon, and populate it with monsters to defend the demon lord Badman from heroes. More steps are given when a stage is cleared, based on how well the player did. The \"Dig Power\" has another function, however: it is also used to upgrade monsters. The player is given some time to dig out the dungeon and create monsters before a hero comes to capture the demon lord. When the hero is about to enter the dungeon, the player must take Badman and change his location, preferably making it harder for the hero to find him. When the hero gets into the dungeon, he will navigate the dungeon until he finds and captures the demon lord. The hero will fight against any monster that gets in his way.\n\nWhen the hero captures the demon lord, he will retrace the same path, taking the demon lord with him. It is possible to create monsters to save the demon lord during this.\n\nMonsters are created depending on the number of nutrients or mana in the blocks of the dungeon. If the block is covered with moss, and the player uses his pickaxe on this block, a slime will be released. These slimes move around the dungeon, absorbing, and expelling the nutrients from adjacent blocks, creating blocks with more and more nutrients. Once a block obtains enough nutrients, it will change textures depending on just how much is in the block. Stronger, more powerful monsters will be released the more nutrients a block has. The death of monsters or heroes, along with some of the heroes' actions, has varied effects on the surrounding ground. For example, if a hero casts a spell, the surrounding blocks will be filled with mana, which can be used to create different monsters. More so, if that hero dies, the remainder of his mana is expelled onto surrounding blocks.\n\nDevelopment \nThis game is mostly unknown outside Japan and is considered to be a cult hit. A sequel was released entitled Yuusha no Kuse Ni Namaikida or2, which features almost identical gameplay with a few different additions and changes. In April 2009, it was announced that the game was released in North America under the name Holy Invasion Of Privacy, Badman! What Did I Do To Deserve This? On February 9, 2010, the name was changed again to What Did I Do To Deserve This, My Lord!?, to avoid infringing upon the Batman IP. A third game, No Heroes Allowed! was released in late 2010.\n\nReception \n\nWith the exception of Japan, Holy Invasion Of Privacy, Badman! What Did I Do To Deserve This? received average reviews. \"Holy Invasion of Privacy, Badman! is an extremely quirky, challenging title that has a few frustrating elements that keep it from being a stellar downloadable,\" IGN said about the game. Game Revolution gave the game a C-, stating, \"A weird and unique freak of nature amongst the mundane shooters and RPGs with their played out themes of morality, but it's trying too hard to be clever.\" The game currently holds 69/100 on Metacritic.\n\nSequels\nThere have been two sequels to What Did I Do to Deserve This, My Lord? released on PSP: What Did I Do to Deserve This, My Lord? 2 and No Heroes Allowed!. A third sequel, No Heroes Allowed: No Puzzles Either!, was released in 2014 for PlayStation Vita, with a fourth, No Heroes Allowed! VR, released on October 14 2017 for PlayStation VR.\n\nReferences\n\nExternal links\nOfficial website\n\n2007 video games\nGod games\nPlayStation Portable games\nPlayStation Portable-only games\nReal-time strategy video games\nSony Interactive Entertainment games\nVideo games developed in Japan"
]
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"Marc Chagall",
"Art education",
"What did this lead him to do",
"In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities."
]
| C_fb39cb009c7c428b96355283503ac7ff_1 | What is the worst | 2 | What is the worst in Russia for Jewish children? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
1985 deaths
People from Liozna District
People from Orshansky Uyezd
Belarusian Jews
Painters of the Russian Empire
Russian male painters
Artists of the Russian Empire
Soviet painters
Belarusian painters
20th-century French painters
20th-century male artists
French male painters
Jewish painters
Modern painters
Neo-primitivism
Russian avant-garde
Russian stained glass artists and manufacturers
Yiddish-language poets
Wolf Prize in Arts laureates
Ballet designers
Levites
Soviet Jews
Emigrants from the Russian Empire to France
French people of Belarusian-Jewish descent
School of Paris
Russian Freemasons
French Freemasons
Members of the Grand Orient of Russia’s Peoples
Jewish School of Paris
Grand Croix of the Légion d'honneur
Members of the Royal Academy of Belgium
French tapestry artists
Emigrants from the Russian Empire to the United States
Honorary Members of the Royal Academy
Russian textile artists
Naturalized citizens of France | true | [
"A worst-case scenario is a concept in risk management wherein the planner, in planning for potential disasters, considers the most severe possible outcome that can reasonably be projected to occur in a given situation. Conceiving of worst-case scenarios is a common form of strategic planning, specifically scenario planning, to prepare for and minimize contingencies that could result in accidents, quality problems, or other issues.\n\nDevelopment and use\nThe worst-case scenario is \"[o]ne of the most commonly used alternative scenarios\". A risk manager may request \"a conservative risk estimate representing a worst-case scenario\" in order to determine the latitude they may exercise in planning steps to reduce risks. Generally, a worst-case scenario \"is settled upon by agreeing that a given worst case is bad enough. However, it is important to recognize that no worst-case scenario is truly without potential nasty surprises\". In other words, ‘[a] “worst-case scenario” is never the worst case’, both because situations may arise that no planner could reasonably foresee, and because a given worst-case scenario is likely to consider only contingencies expected to arise in connection with a particular disaster. The worst-case scenario devised by a seismologist might be a particularly bad earthquake, and the worst-case scenario devised by a meteorologist might be a particularly bad hurricane, but it is unlikely that either of them will devise a scenario where a particularly bad storm occurs at the same time as a particularly bad earthquake.\n\nThe definition of a worst-case scenario varies by the field to which it is being applied. For example, in environmental engineering\", \"[a] worst-case scenario is defined as the release of the largest quantity of a regulated substance from a single vessel or process line failure that results in the greatest distance to an endpoint\". In this field, \"[a]s in other fields, the worst-case scenario is a useful device when low probability events may result in a catastrophe that must be avoided even at great cost, but in most health risk assessments, a worst-case scenario is essentially a type of bounding estimate\". In computer science, the best, worst, and average case of a given algorithm express what the resource usage is at least, at most and on average, respectively. For many individuals, a worst case scenario is one that would result in their own death.\n\nCriticisms\nA number of criticisms have been leveled against the use of worst-case scenarios. In some cases, a conceivable worst-case scenario within a field may be so far beyond the capacity of participants to deal with that it is not worth the effort to develop or explore such a scenario; where this is possible, it is \"important to evaluate whether the development of a worst-case scenario is reasonable and desirable\". Entities that rely on such scenarios in planning may be led to plan too conservatively to take advantage of the usual absence of such scenarios, and may waste resources preparing for highly unlikely contingencies. At the extreme, it has been argued that the use of worst-case scenarios in disaster preparedness and training causes people to become conditioned to set aside ethical concerns and to over-react to lesser disasters.\n\nBen-Haim and Elishakoff, Elishakoff et al. and Hlavacek et al. developed the worst case analysis based on convex constraints, representing uncertainty in applied mechanics.\n\nSee also\nMinimax\n Worst-Case Scenario series, a series of books inspired by The Worst-Case Scenario Survival Handbook, providing tips for surviving such scenarios\n Worst-case complexity\n\nReferences\n\nRisk management\nSystems thinking",
"In cognitive therapy, decatastrophizing or decatastrophization is a cognitive restructuring technique to treat cognitive distortions, such as magnification and catastrophizing, commonly seen in psychological disorders like anxiety and psychosis.\n\nThe technique consists of confronting the worst-case scenario of a feared event or object, using mental imagery to examine whether the effects of the event or object have been overestimated (magnified or exaggerated) and where the patient's coping skills have been underestimated. The term was coined by Albert Ellis, and various versions of the technique have been developed, most notably by Aaron T. Beck.\n\nDecatastrophizing is also called the \"what if\" technique, because the worst-case scenario is confronted by asking: \"What if the feared event or object happened, what would occur then?\"\n\nThe following is an example:\n\"I could make an absolute fool of myself if I say the wrong thing.\"\n\"What if you say the wrong thing, what would happen then?\"\n\"He might think I'm weird.\" ...\n\nReferences \n\nCognitive therapy"
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| C_fb39cb009c7c428b96355283503ac7ff_1 | What is the worst with these people | 3 | What is the worst with local Jewish people? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
1985 deaths
People from Liozna District
People from Orshansky Uyezd
Belarusian Jews
Painters of the Russian Empire
Russian male painters
Artists of the Russian Empire
Soviet painters
Belarusian painters
20th-century French painters
20th-century male artists
French male painters
Jewish painters
Modern painters
Neo-primitivism
Russian avant-garde
Russian stained glass artists and manufacturers
Yiddish-language poets
Wolf Prize in Arts laureates
Ballet designers
Levites
Soviet Jews
Emigrants from the Russian Empire to France
French people of Belarusian-Jewish descent
School of Paris
Russian Freemasons
French Freemasons
Members of the Grand Orient of Russia’s Peoples
Jewish School of Paris
Grand Croix of the Légion d'honneur
Members of the Royal Academy of Belgium
French tapestry artists
Emigrants from the Russian Empire to the United States
Honorary Members of the Royal Academy
Russian textile artists
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"Alessandro Genovesi (born 10 January 1973) is an Italian director, screenwriter, playwright and actor.\n\nLife and career \nBorn in Milan, Genovesi started his professional career on stage, first as an actor and later as a playwright and a director. He had his breakout in 2007, with the play Happy Family he wrote and directed; the play won several awards, and in 2010 it was adapted in a film with the same title directed by Gabriele Salvatores in which Genovesi served as a screenwriter and an assistant director.\n\nGenovesi made his directorial film debut in 2011 with The Worst Week of My Life, which was a box office success and led to a sequel, still directed by Genovesi.\n\nFilmography \nThe Worst Week of My Life (2011) \nThe Worst Christmas of My Life (2013) \nSoap Opera (2014)\nWhat a Beautiful Surprise (2015)\nMy Big Gay Italian Wedding (2018)\nWhen Mom Is Away (2019)\nWhen Mom Is Away... With the Family (2020)\n\nReferences\n\nExternal links \n \n\n1973 births\nLiving people\nItalian film directors\nItalian theatre directors\nItalian screenwriters\nItalian male screenwriters\nFilm people from Milan\nMale actors from Milan\nItalian male film actors\nItalian male stage actors\nItalian dramatists and playwrights\nTheatre people from Milan",
"In computer science, introselect (short for \"introspective selection\") is a selection algorithm that is a hybrid of quickselect and median of medians which has fast average performance and optimal worst-case performance. Introselect is related to the introsort sorting algorithm: these are analogous refinements of the basic quickselect and quicksort algorithms, in that they both start with the quick algorithm, which has good average performance and low overhead, but fall back to an optimal worst-case algorithm (with higher overhead) if the quick algorithm does not progress rapidly enough. Both algorithms were introduced by David Musser in , with the purpose of providing generic algorithms for the C++ Standard Library that have both fast average performance and optimal worst-case performance, thus allowing the performance requirements to be tightened. However, in most C++ Standard Library implementations that use introselect, another \"introselect\" algorithm is used, which combines quickselect and heapselect, and has a worst-case running time of O(n log n).\n\nAlgorithms \nIntrosort achieves practical performance comparable to quicksort while preserving O(n log n) worst-case behavior by creating a hybrid of quicksort and heapsort. Introsort starts with quicksort, so it achieves performance similar to quicksort if quicksort works, and falls back to heapsort (which has optimal worst-case performance) if quicksort does not progress quickly enough. Similarly, introselect combines quickselect with median of medians to achieve worst-case linear selection with performance similar to quickselect.\n\nIntroselect works by optimistically starting out with quickselect and only switching to a worst-case linear-time selection algorithm (the Blum-Floyd-Pratt-Rivest-Tarjan median of medians algorithm) if it recurses too many times without making sufficient progress. The switching strategy is the main technical content of the algorithm. Simply limiting the recursion to constant depth is not good enough, since this would make the algorithm switch on all sufficiently large lists. Musser discusses a couple of simple approaches:\n Keep track of the list of sizes of the subpartitions processed so far. If at any point k recursive calls have been made without halving the list size, for some small positive k, switch to the worst-case linear algorithm.\n Sum the size of all partitions generated so far. If this exceeds the list size times some small positive constant k, switch to the worst-case linear algorithm. This sum is easy to track in a single scalar variable.\nBoth approaches limit the recursion depth to k ⌈log n⌉ = O(log n) and the total running time to O(n).\n\nThe paper suggested that more research on introselect was forthcoming, but the author retired in 2007 without having published any such further research.\n\nSee also\n Floyd–Rivest algorithm\n\nReferences\n\n \n\nSelection algorithms"
]
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"What is the worst with these people",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews."
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| C_fb39cb009c7c428b96355283503ac7ff_1 | What did this make him try and do | 4 | What did Russian schools not enrolling Jews make Chagall try and do? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
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Belarusian Jews
Painters of the Russian Empire
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Marwell and Schmitt created a typology for compliance gaining techniques: promise, threat, positive expertise, negative expertise, liking, pregiving, aversive stimulation, debt, moral appeal, positive self-feeling, negative self-feeling, positive altercasting, negative altertcasting, altruism, positive esteem, and negative esteem. This study was the catalyst for more interest in compliance gaining from communication scholars.\n\nMiller, Boster, Roloff, and Seibold (1977) as well as Cody and McLaughlin (1980) studied the situational variables that influences compliance gaining strategies. The latter study identified six different typologies of situations that can influence compliance gaining behaviors: personal benefits (how much personal gain an actor can yield from the influencing behavior), dominance (the power relation between the actor and the target), rights (whether the actor has the right to expect compliance), resistance (how easy will the target be influenced), intimacy (whether the relation between actor and target is shallow), and consequences (what sort of effect this situation would have on the relationship between actor and target). Dillard and Burgoon (1985) later investigated the Cody-McLaughlin typologies. They concluded that situational variables, as described by Cody and McLaughlin, did very little to predict compliance gaining strategy selection. As early as 1982, there was already strong criticism about the strength of the relationships between situational variables and compliance gaining message selection.\n\nBy the 1990s, many research efforts attempting to link compliance gaining strategy selection and features of a situation or features of the individual \"failed to coalesce into a coherent body of knowledge\". Situational dimensions and individual differences were not effective in predicting so researchers went into other perspectives in an effort to understand compliance gaining. For instance, Schrader and Dillard (1998) linked primary and secondary goals to compliance gaining strategy. Using the theoretical framework of Goals-Plans-Actions developed by Dillard in 1980, Schrader and Dillard operate from the assumption that individuals possess and act on multiple goals. In any compliance seeking situation, the actor has primary goals that drive the attempt to influence a target. The primary goal is what the interaction is all about. For instance, if an actor wants a target to stop smoking, this is the primary goal and this is what drives the interaction. However, in the course of pursuing that goal, there are \"secondary\" goals to consider. These are goals that limit the behavior of the actor. If getting a target to stop smoking is the primary goal, then a secondary goal might be to maintain a friendly relationship with the target. Dillard specifies five types of secondary goals that temper the compliance gaining behavior: identity goals (morals and personal standards), interaction goals (impression management), relational resource goals (relationship management), personal resource goals (material concerns of the actor), and arousal management goals (efforts to manage anxiety about the compliance gaining attempt).\n\nDespite the charges of individual differences making very little progress in prediction compliance gaining strategies, some researchers in the 2000s have focused their efforts to rectify this weakness in the research to link individual differences with compliance gaining effectiveness. King (2001), acknowledging the paucity of robust situational and trait studies linked to compliance gaining, attempted to isolate one situation as a predictor for compliance gaining message selection. King's research suggested that when target of compliance gaining were perceived to be less resistant to influence attempts, the actors used more compliance gaining tactics. When targets were perceived as strongly resistant, the actors used less tactics. Elias and Loomis (2004) found that gender and race affect an instructor's ability to gain compliance in a college classroom. Punyanunt (2000) found that using humor may enhance the effectiveness of pro-social compliance gaining techniques in the classroom. Remland and Jones (1994) found that vocal intensity and touch also affect compliance gaining. Goei et al. (2003) posited that \"feelings of liking\" between target and actor as well as doing favors for the target lead to liking and obligation, which leads to increased compliance. Pre-giving (giving a target a small gift or favor such as a free sample of food) is positively associated with increased compliance in strangers. \nOne of the major criticisms of examining compliance gaining literature is that very little research studies actual compliance. Filling out a survey and reporting intent to comply with a request is certainly different than actually completing the request. For example, many people might report that they will comply with a doctor's order, but away from the doctor's office, they may ignore medical advice.\n\nApplication\nCompliance gaining research has a fairly diverse background so much of the research uses alternate paradigms and perspectives. As mentioned above, the field of compliance gaining originated in social psychology, but was adopted by many communication scholars as well. Many fields from consumer psychology to primary education pedagogy have taken great interest in compliance gaining.\n\nMedicine \nDoctors have expressed much frustration with compliance resistance from their patients. A reported 50% of patients do not comply with medical advice and prescriptions. Researchers, as well as medical professionals, have a vested interest in learning strategies that can increase compliance in their patients. Many severe and chronic conditions can be avoided if early treatments are followed as prescribed, avoiding death, permanent injury, and costlier medical treatments later on. Researchers in communication have reported some key findings such as: clear and effective communication about a patient's condition or illness increases the likelihood of patient compliance with medical advice; doctors that use humor in their communication with patients have higher satisfaction rates; high satisfaction rates with physicians is highly correlated with patient compliance.\n\nPedagogy \nFor teachers, gaining compliance from students is a must for effective teaching. Studies in compliance gaining have ranged from elementary education all the way to adult and higher education.\n\nSales and consumer psychology \nAdvertising and marketing are tools of persuasion. There is literally centuries' worth of literature available about persuasion. However, changing attitudes and beliefs about a product does not necessarily change behaviors. Purchasing a product is a behavior. Researchers such as Parrish-Sprowl, Carveth, & Senk (1994) have applied compliance gaining research to effective sales.\n\nCompliance\nCompliance gaining was not originally conceived in the field of communication but found its roots in the late 1960s as a result of studies and research by two sociologists, Gerald Marwell and David Schmitt. In 1967, Marwell and Schmitt produced some interesting compliance-gaining tactics concerning the act of getting a teenager to study. The tactics, sixteen in all, are as follows.\n\n Promise: If you comply, I will reward you. For example, you offer to increase Dick's allowance if he studies more.\n Threat: If you do not comply, I will punish you. For example, you threaten to forbid Dick to use the car if he doesn't start studying more.\n Expertise (positive): If you comply, you will be rewarded because of the \"nature of things.\" For example, you tell Dick that if he gets good grades he be able to get into college and get a good job.\n Expertise (negative): If you do not comply, you will be punished because of the \"nature of things.\" For example, you tell Dick that if he does not get good grades he will not be able to get into college or get a good job.\n Liking: Act friendly and helpful to get the person in a \"good frame of mind\" so they comply with the request. For example, you try to be as friendly and pleasant as possible to put Dick in a good mood before asking him to study.\n Pre-giving: Reward the person before requesting compliance. For example, raise Dick's allowance and tell him you now expect him to study.\n Aversive stimulation: Continuously punish the person, making cessation contingent on compliance. For example, you tell Dick he may not use the car until he studies more.\n Debt: You owe me compliance because of past favors. For example, you point out that you have sacrificed and saved to pay for Dick's education and that he owes it to you to get good enough grades to get into a good college.\n Moral appeal: You are immoral if you do not comply. You tell Dick that it is morally wrong for anyone not to get as good grades as possible and that he should study more.\n Self-feeling (positive): You will feel better about yourself if you comply. For example, you tell Dick that he will feel proud if he gets himself to study more.\n Self-feeling (negative): You will feel worse about yourself if you do not comply. For example, you tell Dick that he will feel ashamed of himself if he gets bad grades.\n Altercasting (positive): A person with \"good\" qualities would comply. For example, you tell Dick that because he is a mature and intelligent person he naturally will want to study more and get good grades.\n Altercasting (negative): Only a person with \"bad\" qualities would not comply. For example, you tell Dick that he should study because only someone very childish does not study.\n Altruism: I need your compliance very badly, so do it for me. For example, you tell Dick that you really want very badly for him to get into a good college and that you wish he would study more as a personal favor to you.\n Esteem (positive): People you value will think better of you if you comply. For example, you tell Dick that the whole family will be very proud of him if he gets good grades.\n Esteem (negative): People you value will think the worse of you if you do not comply. For example, you tell Dick that the whole family will be very disappointed in him if he gets poor grades.\n\nIn 1967, Marwell and Schmitt conducted experimental research, using the sixteen compliance gaining tactics and identified five basic compliance-gaining strategies: Rewarding activity, Punishing activity, Expertise, Activation of impersonal commitments, and Activation of personal commitments.\n\nPower\nAnother element of compliance-gaining was produced in the early 1960s, as French and Raven were researching the concepts of power, legitimacy, and politeness. They identified five influential aspects associated with power, which help illustrate elements of the study of compliance. The fives bases of power are as follows:\n\n Reward Power: A person with reward power has control over some valued resource (e.g., promotions and raises).\n Coercive Power: A person with coercive power has the ability to inflict punishments (e.g., fire you).\n Expert Power: Expert power is based on what a person knows (e.g., you may do what a doctor tells you to do because they know more about medicine than you do).\n Legitimate Power: Legitimate power is based on formal rank or position (e.g., you obey someone's commands because they are the vice president in the company for which you work).\n Referent Power: People have referent power when the person they are trying to influence wants to be like them (e.g., a mentor often has this type of power).\n\n(French & Raven, 1960)\n\nTechniques\nThe study of compliance gaining has been central in the development of many commonly used or heard of techniques. The following techniques are a few of what has evolved as a product of the study of compliance gaining strategies. Note, many of these techniques have been empirically documented increasing compliance.\n\nFoot-in-the-door (FITD) \n\nWith research starting in 1966 by Freedman & Fraser, foot-in-the door is one of the earliest and most researched compliance gaining techniques. This technique gains compliance by making a smaller easy request then a larger more difficult request at a later time. The smaller request is usually one that would be widely accepted without scrutiny. The larger request is usually the actual the task or goal wanted to be completed.\n\nEffectivity \nFreedman and Fraser thought that after satisfying the smaller initial request, if the person was not forced to do then they must be \"the type of person who fulfills such requests\".\n\nThe smaller task/request should relate to the larger request and not be trivial. For the foot-in-the-door technique to be successful it must generate the self-aware \"I am the kind of person who fulfills this type of request\" other wise known as the self-perception theory. Other studies found that if the initial request is easy but unusual or bizarre, it would also generate the foot-in-the-door effectiveness. This idea was developed further into the Disrupt-Then-Reframe technique.\n\nThere are other reasons besides the self-perception theory that makes the foot-in-the-door technique successful.\n\nConsistency – Cialdini and Guadagno, Asher, and Demaine believe that what makes people want to fulfill larger request is the need to be consistent.\n\nThe Norm to Help Others – Harris believed that after the first request, the norm to help others becomes clear. It only becomes evident after the person reviews his or her reason why they completed the original request.\n\nSatisfying the First Request – Crano and Sivacek thought what made the technique so effective was personal satisfaction. \"The person learns that the fulfillment of request brings the reward of a positive experience. One may assume that the likelihood that satisfaction of this type appears willi increase if the person has to react to something unusual that awakens his or her mindfulness, and will decrease in situations in which the person reacts automatically and habitually\".\n\nDoor-in-the-face (DITF) \n\nDoor-in-the-face was first introduced in 1975 by Cialdini and colleagues. The opposite of foot-in-the-door, in the door-in-the-face technique, the requestor asks a large objectionable request which is denied by the target instead of gaining compliance by asking a smaller easy request. The requestor seeking compliance ask a smaller more reasonable request.\n\nThere are several theories that explain why door-in-the-face is an effective gaining compliance technique.\n\nSelf-presentation theory – \"that individuals will comply with a second request due to fears one will be perceived negatively by rejecting successive prosocial request for compliance\".\n\nReciprocal concessions – this theory describes the effects of door-in-the-face as a \"process of mutual concessions\". \"The second request represents a concession on the part of the sender (from his or her initial request), and compliance to the second request represents a concession on the part of the receiver (from his or her inclination to not comply with the first request)\".\n\nGuilt – One reason that makes door-in-the-face such an effective technique is people feel guilty for refusing to comply with a request twice.\n\nSocial Responsibility – this theory describes the social repercussions and pressures that occur if an individual declines a request.\n\nAll together the theories propose that a target who declines the first request feel a \"personal or social responsibility\" to comply with the second request. In an effort to avoid feeling guilty or reduce the sense of obligation the target would have.\n\nRecent techniques\n\nDisrupt-then-reframe (DTR) \nDTR was first introduced by Barbara Price Davis and Eric S. Knowles in 1999. This technique states that a person will be more likely to comply with a request if the initial request or pitch is confusing. The pitch is immediately followed by a reframing or a reason to comply with the request.\n\nAn example of this technique is: A waiter states that \"the steak dinner is on special for 800 pennies; it's a really good deal\". Disrupting the couple by saying \"800 pennies\" instead of \"8 dollars\", the waiter is able to increase the likelihood that they will buy the steak dinner.\n\nDTR was found to be a very effective way to gain compliance in non-profit instances such as raising money for charities or asking people to take a survey. DTR was found to be less successful as a sales technique; this may be because the message is more scrutinized, making it harder to confuse the target.\n\nPersistence \nPersistence used as a compliance gaining technique, gets the target to comply by repeating the message. In 1979, Cacioppo and Petty found that repeating the message more than five times lead to decrease in compliance. Success is enhanced if the repetition comes from more than one person and is enhanced further if the message has the same idea or meaning but is not exact.\n\nAn example of this technique would be: \"My wife kept reminding me to take out the trash until I finally did it.\"\n\nDump and chase (DAC) \nPersistence has a high probability of annoying the target and creating a negative interaction which could be viewed as \"nagging\". A way to avoid this would be rejecting the targets objection to your request by asking \"why not?\", then forming another message to overcome the second objection to gain compliance. This technique is called dump and chase.\n\nMechanics of this technique are urgency and guilt. When the repeated message is presented to the target it may be perceived as urgent, thus making it seem more important, and more willing to comply. By creating a sense of obligation in the request, the target may develop guilt if not willing to comply.\n\nJust-One-More (JOM) \nJust-One-More was developed as a way to make a donation seem more important. The use of this technique involves using the language of \"Just-One-More\" to gain compliance. The technique is found to be most useful in instances regarding volunteering and donations. It is seen as \"the last person to help will be more rewarding than being one of the first or those in the middle, due to the expectation that the requestor will appreciate the last person more than any of those who complied previously\".\nFor Example: \"Do you want to buy this car? I need just one more sale to reach my quota this month.\"\n\nIf the target finds that the requestor is lying or being deceptive about being the last one, it will create a negative outlook on the person and the organization that he or she represents. Even though losing some of the effectiveness the requestor could state that they are \"close to their goal\" or \"almost there\".\n\n64 compliance gaining strategies \nIn \"Classifying Compliance Gaining Messages: Taxonomic Disorder and Strategic Confusion\", Kathy Kellermann and Tim Cole put together 64 compliance gaining strategies as an attempt to classify more than 820 previous strategies.\n Actor Takes Responsibility: Try to get others to comply by stating your willingness to help them or even work on the request yourself. That is, try to gain their compliance by offering to do it yourself as a means of getting them to do what you want. Example: \"Is there anything I can do to so you can finish the project on time?\"\n Altercasting (Negative): Try to get others to comply by pointing out that only a bad person would not do what is wanted. That is, try to gain their compliance by noting that only a person with negative qualities wouldn't comply. Example: \"You should stop watching these types of television shows as only a disturbed person would like them.\" \n Altercasting (Positive): Try to get others to comply by pointing out that a good person would do what is wanted. That is, try to gain their compliance by noting that any person with positive qualities would comply. Example: \"A good boy would eat all his vegetables.\"\n Altruism: Try to get others to comply by asking them to give you a hand out of the goodness of their heart. That is, try to gain their compliance by asking them to be altruistic and just do it for you. Example: \"Could you help me move, I would really appreciate it.\"\n Assertion: Try to get others to comply by asserting (forcefully stating) what you want. That is, try to gain their compliance by demanding (commanding) them to comply. Example: \"Go get a bandaid now!\"\n Audience-Use: Try to get others to comply by having a group of other people present when you make your request. That is, try to gain their compliance by asking them in front of other people as a way to back up your request. Example: \"I asked her to go to the prom with me in front of her friends.\" \n Authority Appeal: Try to get others to comply on the basis of the authority that you or other people have. That is, try to gain their compliance by using or relying on a position of power over them to get them do to what you want. Example: \"My boss told me to get him the reports by 10 am so I did.\"\n Aversive Stimulation: Try to get others to comply by doing things they don't like until they agree to comply. That is, try to gain their compliance by bothering them until they do what you want. Example: \"My co-worker kept bothering me to quit smoking until I finally did.\"\n Bargaining: Try to get others to comply by striking a bargain with them. That is, try to gain their compliance by negotiating a deal where you each do something for the other so everyone gets what they want. Example: \"If you help me with the dishes, I will help you with the laundry.\"\n Benefit (Other): Try to get others to comply by telling them people other than themselves would benefit if they do what you want. That is, try to gain their compliance by pointing out how it helps people other than themselves if they comply. Example: \"By donating to our fundraiser, You ensure that everyone will have a coat this winter.\"\nBenefit (Self): Try to get others to comply by telling them you personally would benefit if they do what you want. That is, try to gain their compliance by pointing out how it helps oneself if they comply. Example: \"If you helped me with the yard work, then I won't get a ticket by the city tomorrow.\"\nBenefit (Target): Try to get others to comply by telling them they personally would benefit if they do what you want. That is, try to gain their compliance by pointing out how it helps them if they comply. Example: \"If you go grocery shopping for me tonight then you will have something for lunch tomorrow.\"\nChallenge: Try to get others to comply by challenging them to do what you want. That is, try to gain their compliance by provoking, stimulating, tempting, goading, and/or galvanizing them to comply. Example: I didn't want to race until his car pulled beside mine and he revved the engine. \nCompliment: Try to get others to comply by complimenting them on their abilities or accomplishments. That is, try to gain their compliance by praising them to get them to do what you want. Example: With that jump shot, you would be really good at basketball. \nCompromise: Try to get others to comply by offering to compromise with them. That is, try to gain their compliance by making a concession to them so they'll make their concession to you and do what you want. Example: \"I will drop you off at the airport if you will go to the dentist with me.\"\n Cooperation: Try to get others to comply by being cooperative and collaborating with them. That is, try to gain their compliance not by telling the other person what to do but by offering to discuss things and work them out together. Example: \"We should get the team together and brainstorm new ideas for this problem.\"\nCriticize: Try to get others to comply by criticizing them. That is, try to gain their compliance by attacking them on a personal level to get them to do what you want. Example: \"It looks like you're really gaining some weight, why don't you go on a run with me.\"\nDebasement: Try to get others to comply by acting pitiful and pleading. That is, try to gain their compliance by debasing, demeaning, degrading, devaluing, humiliating, and/or lowering yourself so as to deprive yourself of esteem or self-worth to get them to do what you want. Example: \"I am so stupid, I can't believe I deleted the report. Can you please go delay the presentation.\" \nDebt: Try to get others to comply by reminding them they are in debt to you because of things you have done for them in the past. That is, try to gain their compliance by indicating that they owe it to you to do what you want. Example: \"You should paid for my lunch, I bought your lunch last time.\"\nDeceit: Try to get others to comply by misleading them. That is, try to gain their compliance by lying to or deceiving them. Example: \"We told them the car was in perfect working order, but the transmission is about to go out.\"\nDirect Request: Try to get others to comply by just making a direct request. That is, try to gain their compliance by simply asking or stating what you want without giving any reasons for them to comply. Example: \"Can I use the computer?\"\nDisclaimer (Norms/Rules): Try to get others to comply by downplaying or disavowing restrictions and constraints that might prevent them from doing what you want them to do. That is, try to gain their compliance by pointing out that otherwise applicable procedures, rules, norms, and/or expectations should be broken in this instance. Example: \"You should drive faster than the speed limit, this is an emergency!\"\nDisclaimer (Other): Try to get others to comply by downplaying or disavowing the ability of anyone else to do so. That is, try to gain their compliance by pointing out that other people can't help you or do what is needed. Example: \"I would ask Ted for his help but we know that he is not good at presentations.\"\nDisclaimer (Self): Try to get others to comply by downplaying or disavowing your reasons for asking. That is, try to gain their compliance by indicating that: (a) you don't want to make a bad impression nor do you have bad intentions, (b) you don't really want to make the request and you are only doing so reluctantly, and/or (c) you simply have no choice but to make the request. Example: \"I'm sorry that I am asking you for money, I'm really not a beggar.\"\nDisclaimer (Target): Try to get others to comply by acknowledging and sympathizing with why they may not want to do so. That is, try to gain their compliance by indicating that: (a) you understand and are aware of their reasons, feelings, and abilities, and/or (b) that you are sensitive to their needs and concerns even though you must ask them to do what you want. Example: \"I know that you're disappointed that you can't go on the trip, but do you mind helping me get the presentation ready?\"\nDisclaimer (Task): Try to get others to comply by downplaying what you are asking them to do. That is, try to gain their compliance by indicating that what you want them to do isn't what they think it is and shouldn't pose a problem; it isn't awful, effortful, difficult, or dumb. Example: \"Updating the database shouldn't take that much time.\"\nDisclaimer (Time): Try to get others to comply by downplaying or disavowing being busy as a reason to refuse your request. That is, try to gain their compliance by pointing out that there is or soon will be enough time for them to do what you want. Example: \"We should go to the store now, you can finish your report later.\"\nDuty: Try to get others to comply by pointing out it is their duty to do so. That is, try to gain their compliance by stating they should fulfill obligations, responsibilities, and commitments that they have. Example: \"Taking out the trash at the end of the day is a part of your job.\"\nEquity: Try to get others to comply on the grounds that it is equitable to do so. That is, try to gain their compliance by pointing out that being fair, just, and impartial means they should do what you want. Example: \"Your brother cleaned the house last time; it's your turn now.\"\nEsteem (Negative) by Others: Try to get others to comply by pointing out that, if they do not do so, other people will think worse of them. That is, try to gain their compliance by noting that in the eyes of others they will be viewed more negatively if they don't do what you want. Example: \"If you don't go to that college, other people will think you're going to a party school.\"\nEsteem (Positive) by Others: Try to get others to comply by pointing out that, if they do so, other people will think better of them. That is, try to gain their compliance by noting that in the eyes of others they will be viewed more positively if they do what you want. Example: \"If you play football, everyone will think that you're really tough.\"\nEsteem (Negative) by Actor: Try to get others to comply by pointing out that, if they do not do so, you will think worse of them. That is, try to gain their compliance by noting that in your eyes they will be viewed more negatively if they don't do what you want. Example: \"I would be really disappointed if you went to the party instead of studying.\"\nEsteem (Positive) by Actor: Try to get others to comply by pointing out that, if they do so, you will think better of them. That is, try to gain their compliance by noting that in your eyes they will be viewed more positively if they do what you want. Example: \"If you went to law school, I would have a new level of respect for you.\"\nExpertise (Negative): Try to get others to comply by pointing out that because of the way the world works, unfavorable things will happen if they don't change their behavior. That is, try to gain their compliance by noting that in the natural course of things, bad outcomes will occur if they don't do what you want. Example: \"You will get the flu, if you don't get a flu shot.\"\nExpertise (Positive): Try to get others to comply by pointing out that because the way the world works, favorable things will happen if they change their behavior. That is, try to gain their compliance by noting that in the natural course of things, good outcomes will occur if they do what you want. Example: \"If you work hard at your job, you're sure to get that promotion.\"\nHinting: Try to get others to comply by hinting around at what you want them to do. That is, try to gain their compliance by indicating indirectly what you want, hoping they will figure it out and comply even though you never come out and really say it. Example: \"I left the trash by the front door, so Dan would take it out.\" \nI Want: Try to get others to comply for no reason other than you want them to. That is, try to gain their compliance by telling them to do what you want because you desire it. Example: \"I want you to go with me to the city.\"\nInvoke Norm: Try to get others to comply by indicating they would be out of step with the norm if they didn't do what you want. That is, try to gain their compliance by prodding them to conform to what others have, do, or desire. Example: \"Everyone is going to the gym after work.\"\nIt's Up to You: Try to get others to comply by telling them the decision is theirs to make and it's up to them. That is, try to gain their compliance by telling them the choice to comply is up to them. Example: \"It's up to you to save your money, instead of spending it on video games.\"\nLogical Empirical: Try to get others to comply by making logical arguments. That is, try to gain their compliance through the use of reasoning, evidence, facts, and data. Example: \"Statistics show that non-smokers live longer than smokers.\"\nMoral Appeal: Try to get others to comply by appealing to their moral or ethical standards. That is, try to gain their compliance by letting them know what is right and what is wrong. Example: \"Don't buy those shoes they are made using child labor.\"\nMy Concern for You: Try to get others to comply because of your concern for them. That is, try to gain their compliance by referring to your regard for, consideration of, interest in, and feelings for them. Example: \"Please go to the doctor, I'm worried about you.\"\nNature of Situation: Try to get others to comply by being attentive to the situation or circumstances you find yourselves in. That is, try to gain their compliance by taking note of the appropriateness of their behavior to the situation and/or the appropriateness of your request in the situation. Example: \"I told my son that the bed was not a trampoline.\" \nNegative Affect: Try to get others to comply by being really negative: expressing negative emotions, acting really unfriendly, and creating an unappealing impression. That is, try to gain their compliance by acting displeased to get them to do what you want. Example: \"Angrily, I told her to put her phone on silent after it went off in class..\"\nNot Seek Compliance: No attempt is made to get others to do what you want. That is, no compliance is sought. Example: \"I didn't ask if I could go out tonight.\"\nPersistence: Try to get others to comply by being persistent. That is, try to gain their compliance by persevering (continuing) in your attempts to get them to do what you want. Example: \"After asking for over a year, we are finally getting a pool.\"\nPersonal Expertise: Try to get others to comply by referring to your credibility (your personal expertise). That is, try to gain their compliance based on your experience, know-how, trustworthiness, and judgment. Example: \"You should get those shoes, I have them and they feel great when running. \nPositive Affect: Try to get others to comply by being really positive: expressing positive emotions, acting really friendly, and creating an appealing impression. That is, try to gain their compliance by charming them into doing what you want. Example: \"She was really happy, when she asked for a raise.\"\nPre-Giving: Try to get others to comply by doing positive and nice things for them in advance of asking them to do what you want. That is, try to gain their compliance by giving them things they'd like and then only afterwards making your request. Example: \"I bought my wife flowers, then later asked if I could go fishing this weekend.\"\nPromise: Try to get others to comply by making a promise. That is, try to gain their compliance by offering to give them a reward or something they'd like if they do what is wanted. Example: \"If you behave in the store, I promise that we will stop for ice cream on the way home.\"\nPromote Task: Try to get others to comply by promoting the value and worth of what you want them to do. That is, try to gain their compliance by identifying one or more positive qualities of the thing you are asking them to do (e.g., what you want them to do is important, meaningful, rewarding, enjoyable etc.). Example: \"If you complete this presentation on time, you will be less stressed and will get a good grade.\"\nSelf-Feeling (Negative): Try to get others to comply by stating that not doing so will result in an automatic decrease in their self-worth. That is, try to gain their compliance by pointing out that they will feel worse about themselves if they don't do what you want. Example: \"You will feel bad if you throw all that food away instead of donating it.\"\nSelf-Feeling (Positive): Try to get others to comply by stating that doing so will result in an automatic increase in their self-worth. That is, try to gain their compliance by pointing out that they will feel better about themselves if they do what you want. Example: \"You will feel better if you donate that old coat to charity instead of selling it in the garage sale.\" \nSuggest: Try to get others to comply by offering suggestions about what it is you want them to do. That is, try to gain their compliance by subtly proposing an idea that indirectly points out and describes what it is you want them to do. Example: \"Why don't you try the steak instead of the chicken?\"\nSurveillance: Try to get others to comply by indicating your awareness and observation of what they do. That is, try to gain their compliance by referring to your general vigilance, surveillance, scrutiny, and/or monitoring of their behavior. Example: \"I will find out if you're lying to me about the car accident.\" \nThird Party: Try to get others to comply by having someone else ask them for you. That is, try to gain their compliance by getting someone else to intervene and do it for you. Example: \"Jane don't you think Jim should go on that date with the girl from accounting.\" \nThis Is the Way Things Are: Try to get others to comply by telling them they have to because that is just the way things are. That is, try to gain their compliance by referring to rules, procedures, policies, or customs that require them to comply. Example: \"You should slow down since the speed limit is only 25 mph.\"\nThought Manipulation: Try to get others to comply by convincing them that the request you are making is really their own idea. That is, try to gain their compliance by having them think they were the ones who really wanted to do it in the first place. Example: \"We should go on the roller coaster, since you wanted to come to the fair in the first place.\" \nThreat: Try to get others to comply by threatening them. That is, try to gain their compliance by saying you will punish them if they don't do what you want. Example: \"If you go to the bar again tonight, consider us done.\" \nValue Appeal: Try to get others to comply because of important values that compel action in this instance. That is, try to gain their compliance by pointing to central and joint beliefs that should guide what they do. Example: \"Since we both care about the ocean, we should volunteer for the cleanup.\"\nWarning: Try to get others to comply by warning them about what they are doing. That is, try to gain their compliance by alerting them to possible negative consequences of their behavior. Example: \"You might get fired if you stay up all night.\" \nWelfare (Others): Try to get others to comply by telling them how other people would be hurt if they don't do what you want. That is, try to gain their compliance by pointing out that the welfare of other people is at stake. Example: \"If you are not going to be in the family photo then we won't take one.\" \nWhy Not?: Try to get others to comply by making them justify why they should not. That is, try to gain their compliance by pointing out there are no real grounds for not doing so. Example: \"Why wouldn't you help your sister?\"\nYour Concern for Me: Try to get others to comply because of their concern for you. That is, try to gain their compliance by referring to their regard for, consideration of, interest in, and feelings for you. Example: \"If you really cared for me then you would go to the dance recital.\"\n\nReferences\n\nFurther reading\n \n Dillard, J.P. (2004). The goals-plans-action model of interpersonal influence. In J. S. Seiter & R. H. Gass (Eds.) Readings in persuasion, social influence, and compliance gaining (pp. 185–206). Boston: Allyn & Bacon.\n French, J. P. R., Jr., & Raven, B. (1960). The bases of social power. In D. Cartwright & A. Zander (Eds.), Group dynamics (pp. 607–623). New York: Harper & Row.\n \n \n \n McQuillen, J. S., Higginbotham, D. C., & Cummings, M. C. (1984). Compliance-resisting behaviors: The effects of age, agent, and types of request. In R. N. Bostrom (Ed.), Communication yearbook 8 (pp. 747–762). Beverly Hills: SAGE.\n \n \n Wheeless, L. R., Barraclough, R., & Stewart, R. (1983). Compliance-gaining and power in persuasion. In R. Bostrom (Ed.), Communication yearbook 7 (pp. 105–145). Beverly Hills: Sage.\n\nPersuasion\nAttitude change\nSociological theories",
"Like It Is, Was, and Evermore Shall Be is a compilation album from Scottish singer-songwriter Donovan. It was released in the US (Hickory LPM 143 (mono) /LPS 143 (stereo)) in April 1968. Like It Is, Was, and Evermore Shall Be marked the second Hickory Records compilation of Donovan's 1965 Pye Records material in the United States, following the moderately successful The Real Donovan from 1966.\n\nHistory\nBy 1968, Donovan had released a string of hit singles and albums in both the United States and United Kingdom. With his popularity reaching its zenith, Hickory Records compiled and released Like It Is, Was, and Evermore Shall Be from his 1965 Pye Records catalog.\n\nAlthough Donovan's Pye recordings bore little resemblance to his subsequent material, Hickory released the album with brightly colorful artwork reminiscent of Donovan's latest albums for Epic Records. The back cover contained a pair of reprinted fan letters; one a testimonial from a young female fan, the other thanks from a middle-aged businessman for the way one of Donovan's songs had caused him to reconsider life. (The song unfortunately was not named.)\n\nWhile most of the songs on Like It Is, Was, and Evermore Shall Be had been released on What's Bin Did and What's Bin Hid (US-title: Catch the Wind), Fairytale, and The Real Donovan, the new compilation did contain \"Why Do You Treat Me Like You Do\" and Donovan's recording of Bert Jansch's \"Do You Hear Me Now?\", neither of which had been included on any of Donovan's US long players. The album charted for 4 weeks, reaching No. 177 on the Billboard Magazine charts in the United States.\n\nAlbum origins of tracks\nThe following is a list explaining the original releases of each song.\n\n \"Summer Day Reflection Song\" (from Fairytale, released 22 October 1965)\n \"Do You Hear Me Now?\" (from The Universal Soldier EP, released 15 August 1965)\n \"Colours\" (from Fairytale)\n \"Universal Soldier\" (from Universal Soldier EP, released 15 August 1965)\n \"Josie\" (from What's Bin Did and What's Bin Hid, released 14 May 1965)\n \"Catch the Wind\" (from What's Bin Did and What's Bin Hid)\n \"Why Do You Treat Me Like You Do?\" (b-side of \"Catch the Wind\", released 12 March 1965)\n \"To Try for the Sun\" (from Fairytale)\n \"Hey Gyp (Dig the Slowness)\"* (b-side of \"Turquoise\", released 30 October 1965)\n \"The War Drags On\" (from The Universal Soldier EP)\n \"Sunny Goodge Street\" (from Fairytale)\n\nTrack listing\nAll tracks by Donovan Leitch, except where noted.\n\nSide one\n\n\"Summer Day Reflection Song\" – 2:11\n\"Do You Hear Me Now?\" (Bert Jansch) – 1:45\n\"Colours\" – 2:44\n\"Universal Soldier\" (Buffy Sainte-Marie) – 2:13\n\"Josie\" – 3:24\n\"Catch the Wind\" – 2:53\n\nSide two\n\n\"Why Do You Treat Me Like You Do?\" – 2:54\n\"To Try for the Sun\" – 3:37\n\"Hey Gyp (Dig the Slowness)\" – 3:05\n\"The War Drags On\" (Mick Softley) – 3:40\n\"Sunny Goodge Street\" – 2:55\n\nExternal links\n Like It Is, Was, And Evermore Shall Be – Donovan Unofficial Site\n\n1968 compilation albums\nDonovan compilation albums\nHickory Records compilation albums\nAlbums produced by Geoff Stephens"
]
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"Art education",
"What did this lead him to do",
"In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities.",
"What is the worst",
"Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school,",
"What is the worst with these people",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews.",
"What did this make him try and do",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews."
]
| C_fb39cb009c7c428b96355283503ac7ff_1 | How did this lead to the wrong | 5 | How did not allowing Jews enroll in Russian schools lead to the wrong? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | She offered the headmaster 50 roubles to let him attend, which he accepted. | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
1985 deaths
People from Liozna District
People from Orshansky Uyezd
Belarusian Jews
Painters of the Russian Empire
Russian male painters
Artists of the Russian Empire
Soviet painters
Belarusian painters
20th-century French painters
20th-century male artists
French male painters
Jewish painters
Modern painters
Neo-primitivism
Russian avant-garde
Russian stained glass artists and manufacturers
Yiddish-language poets
Wolf Prize in Arts laureates
Ballet designers
Levites
Soviet Jews
Emigrants from the Russian Empire to France
French people of Belarusian-Jewish descent
School of Paris
Russian Freemasons
French Freemasons
Members of the Grand Orient of Russia’s Peoples
Jewish School of Paris
Grand Croix of the Légion d'honneur
Members of the Royal Academy of Belgium
French tapestry artists
Emigrants from the Russian Empire to the United States
Honorary Members of the Royal Academy
Russian textile artists
Naturalized citizens of France | true | [
"A description error or selection error is an error, or more specifically a human error, that occurs when a person performs the correct action on the wrong object due to insufficient specification of an action which would have led to a desired result. This commonly happens when similar actions lead to different results. A typical example is a panel with rows of identical switches, where it is easy to carry out a correct action (flip a switch) on a wrong switch due to their insufficient differentiation.\n\nThis error can be very disorienting and usually causes a brief loss of situation awareness or automation surprise if noticed right away. But much worse, if it goes unnoticed, it could cause more serious problems. So allowances such as clearly highlighting a selected item should be made in interaction design.\n\nDonald Norman describes the subject in his book The Design of Everyday Things. There he describes how user-centered design can help account for human limitations that can lead to errors like description errors. James Reason also covers the subject in his book Human Error.\n\nReferences\n\n Reducing control selection errors associated with underground bolting equipment\n\nHuman behavior",
"Kill or Capture: How a Special Operations Task Force Took Down a Notorious al Qaeda Terrorist is a book published by Macmillan Publishing in early 2011. The author, a former interrogator, criticizes the use of \"extended interrogation techniques\".\nThe author, who wrote under the pseudonym Matthew Alexander, was interviewed on National Public Radio on February 14, 2011.\nHe said \nAlexander is also the author of How to Break a Terrorist: The U.S. Interrogators Who Used Brains, Not Brutality, to Take Down the Deadliest Man in Iraq. \nAccording to Jeff Stein, writing in the Washington Post, the author's real name was Anthony Camerino, a Major in the United States Air Force Reserve.\nSteven E. Levingston, also writing in the Washington Post, asserted that the book describes how bad intelligence routinely lead to targeting the wrong individuals.\n\nReferences\n\n2011 non-fiction books\nBooks about al-Qaeda"
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| C_fb39cb009c7c428b96355283503ac7ff_1 | What did this make him do | 6 | What did Chagall's mother offering headmaster 50 roubles make Chagall do? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | She offered the headmaster 50 roubles to let him attend, which he accepted. | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
1985 deaths
People from Liozna District
People from Orshansky Uyezd
Belarusian Jews
Painters of the Russian Empire
Russian male painters
Artists of the Russian Empire
Soviet painters
Belarusian painters
20th-century French painters
20th-century male artists
French male painters
Jewish painters
Modern painters
Neo-primitivism
Russian avant-garde
Russian stained glass artists and manufacturers
Yiddish-language poets
Wolf Prize in Arts laureates
Ballet designers
Levites
Soviet Jews
Emigrants from the Russian Empire to France
French people of Belarusian-Jewish descent
School of Paris
Russian Freemasons
French Freemasons
Members of the Grand Orient of Russia’s Peoples
Jewish School of Paris
Grand Croix of the Légion d'honneur
Members of the Royal Academy of Belgium
French tapestry artists
Emigrants from the Russian Empire to the United States
Honorary Members of the Royal Academy
Russian textile artists
Naturalized citizens of France | true | [
"Mister Maker Comes to Town is a spin-off of children's television series Mister Maker commissioned by Michael Carrington at the BBC for CBeebies. The TV series launched in 2010 and ended in 2011. Three spin-offs followed: Mister Maker Around the World, Mister Maker's Arty Party, and Mister Maker at Home, which began airing in 2013, 2015 and 2020, respectively.\n\nEpisode format\nEvery episode has the following sequence:\n\nHelps a child with something they can make - Helping As Children Your Arts & Crafts\nShape dance and guessing game - Awesome Shape Dance & Games\nMinute make it time - 1 Minute Your Arts & Crafts\nColoured Kids - All Art Big Color\nBig surprise - For Your Art & Crafts Bigger\nTime to go - Meet Tocky\nAt the start of every show, Mister Maker uses various objects to make a Makermobile. He shrinks himself, then the episode starts. Tocky, the cuckoo clock, gives Mister Maker a \"mini maker message\", a child who needs help from Mister Maker. The child tells Mister Maker what they would like to do or make something out of old things. This inspires him to do something related to them. He collects the essential items from the Doodle drawers and makes them.\n\nWhen Mister Maker can't find what he needs, he honks the horn, summoning Scraps (a blue puppet with a scarf, a hat with straws and pipe cleaners on it, and googly eyes), who gives him what he wants. After they make it, Mister Maker tells us, \"it's brilliant being out and about in the Makermobile; there's always so much to see and do.\" Then he hears a noise, then a quartet of shapes fly out and sing a silly song and dance, followed by a random shape (circle, triangle, square, or rectangle) to form a picture or find how many shapes there are.\n\nTocky then appears on the Makervideophone for Minute Make Time, and Mister Maker goes to a place where he can make something in a minute—usually completing it just before the timer stops. Then the coloured kids ask Mister Maker from the videophone to guess what they would make with their colourful costumes.\n\nIt is followed by A Big Surprise, where Mister Maker sees some kids who were not expecting him. The kids tell Mister Maker what they would like to do. Mister Maker tells the kids what they will do, which will give him an idea of what to do next. In the middle of making it, he wonders why not make a (insert thing related to what the Mini Makers are making here). The show ends with Tocky telling Mister Maker to go and then shows Mister Maker how to put the Makermobile back into the art box.\n\nReferences\n\nExternal links\n \n\n2010s British children's television series\n2010 British television series debuts\n2011 British television series endings\nBBC children's television shows\nBritish preschool education television series\nBritish television shows featuring puppetry\nTreehouse TV original programming\nTelevision series by RDF Media Group\nBritish television spin-offs",
"is a real-time strategy game for the PlayStation Portable. The game centers on creating mazes and monsters to help defend a demon lord from heroes seeking to capture him.\n\nThe game was released in North America exclusively as a download game on the PlayStation Store, under the title Holy Invasion of Privacy, Badman! What Did I Do To Deserve This?. However, on February 9, 2010, NIS America revealed it would be changing the game's name to avoid conflict with the Batman franchise. The game was re-released on April 22, 2010 on the PlayStation Network after it was removed to make the changes, while its sequel, What Did I Do to Deserve This, My Lord? 2, had been delayed to May 4, 2010.\n\nGameplay \nUsing a limited number of \"Dig Power\" and a pickaxe, the player must dig and create a dungeon, and populate it with monsters to defend the demon lord Badman from heroes. More steps are given when a stage is cleared, based on how well the player did. The \"Dig Power\" has another function, however: it is also used to upgrade monsters. The player is given some time to dig out the dungeon and create monsters before a hero comes to capture the demon lord. When the hero is about to enter the dungeon, the player must take Badman and change his location, preferably making it harder for the hero to find him. When the hero gets into the dungeon, he will navigate the dungeon until he finds and captures the demon lord. The hero will fight against any monster that gets in his way.\n\nWhen the hero captures the demon lord, he will retrace the same path, taking the demon lord with him. It is possible to create monsters to save the demon lord during this.\n\nMonsters are created depending on the number of nutrients or mana in the blocks of the dungeon. If the block is covered with moss, and the player uses his pickaxe on this block, a slime will be released. These slimes move around the dungeon, absorbing, and expelling the nutrients from adjacent blocks, creating blocks with more and more nutrients. Once a block obtains enough nutrients, it will change textures depending on just how much is in the block. Stronger, more powerful monsters will be released the more nutrients a block has. The death of monsters or heroes, along with some of the heroes' actions, has varied effects on the surrounding ground. For example, if a hero casts a spell, the surrounding blocks will be filled with mana, which can be used to create different monsters. More so, if that hero dies, the remainder of his mana is expelled onto surrounding blocks.\n\nDevelopment \nThis game is mostly unknown outside Japan and is considered to be a cult hit. A sequel was released entitled Yuusha no Kuse Ni Namaikida or2, which features almost identical gameplay with a few different additions and changes. In April 2009, it was announced that the game was released in North America under the name Holy Invasion Of Privacy, Badman! What Did I Do To Deserve This? On February 9, 2010, the name was changed again to What Did I Do To Deserve This, My Lord!?, to avoid infringing upon the Batman IP. A third game, No Heroes Allowed! was released in late 2010.\n\nReception \n\nWith the exception of Japan, Holy Invasion Of Privacy, Badman! What Did I Do To Deserve This? received average reviews. \"Holy Invasion of Privacy, Badman! is an extremely quirky, challenging title that has a few frustrating elements that keep it from being a stellar downloadable,\" IGN said about the game. Game Revolution gave the game a C-, stating, \"A weird and unique freak of nature amongst the mundane shooters and RPGs with their played out themes of morality, but it's trying too hard to be clever.\" The game currently holds 69/100 on Metacritic.\n\nSequels\nThere have been two sequels to What Did I Do to Deserve This, My Lord? released on PSP: What Did I Do to Deserve This, My Lord? 2 and No Heroes Allowed!. A third sequel, No Heroes Allowed: No Puzzles Either!, was released in 2014 for PlayStation Vita, with a fourth, No Heroes Allowed! VR, released on October 14 2017 for PlayStation VR.\n\nReferences\n\nExternal links\nOfficial website\n\n2007 video games\nGod games\nPlayStation Portable games\nPlayStation Portable-only games\nReal-time strategy video games\nSony Interactive Entertainment games\nVideo games developed in Japan"
]
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"Marc Chagall",
"Art education",
"What did this lead him to do",
"In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities.",
"What is the worst",
"Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school,",
"What is the worst with these people",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews.",
"What did this make him try and do",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews.",
"How did this lead to the wrong",
"She offered the headmaster 50 roubles to let him attend, which he accepted.",
"What did this make him do",
"She offered the headmaster 50 roubles to let him attend, which he accepted."
]
| C_fb39cb009c7c428b96355283503ac7ff_1 | What did lis lead them to believe | 7 | What did offering headmaster money lead Chagall to believe? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
1985 deaths
People from Liozna District
People from Orshansky Uyezd
Belarusian Jews
Painters of the Russian Empire
Russian male painters
Artists of the Russian Empire
Soviet painters
Belarusian painters
20th-century French painters
20th-century male artists
French male painters
Jewish painters
Modern painters
Neo-primitivism
Russian avant-garde
Russian stained glass artists and manufacturers
Yiddish-language poets
Wolf Prize in Arts laureates
Ballet designers
Levites
Soviet Jews
Emigrants from the Russian Empire to France
French people of Belarusian-Jewish descent
School of Paris
Russian Freemasons
French Freemasons
Members of the Grand Orient of Russia’s Peoples
Jewish School of Paris
Grand Croix of the Légion d'honneur
Members of the Royal Academy of Belgium
French tapestry artists
Emigrants from the Russian Empire to the United States
Honorary Members of the Royal Academy
Russian textile artists
Naturalized citizens of France | true | [
"The London Interdisciplinary School (LIS) is an alternative higher education provider in Whitechapel, London. LIS was founded in 2017 and will admit its first cohort of 100 students in 2021. It is the first new institution since the 1960s to hold full degree-awarding powers in the United Kingdom. The School will provide a fully interdisciplinary undergraduate degree, with students studying complex problems rather than specific subjects. Students will graduate with a Bachelor of Arts and Science (BASc) in Interdisciplinary Problems and Methods.\n\nMission and ethos\n\nCourse design and work placements \nRather than requiring students to specialise in a traditional academic subject, the LIS degree is centred on complex, real-world problems and the multiple approaches required to address them. For example, plastic pollution is addressed by combining chemistry, economics, ecology, and other topics. Over the course of a three-year full-time degree, students examine twelve problems, approaching each via ideas from relevant academic subjects. Potential topics include childhood obesity, the ethics of AI, knife crime, and climate change.\n\nThe problems are developed with an employer network of corporations, start-ups, and public bodies. This network includes KPMG, the Metropolitan Police, Innocent Drinks, Jacobs Engineering, and Crossrail, among others. These employers also provide ten-week paid work placements that are additional to the academic terms.\n\nEach block of teaching also includes time spent on research methods, both quantitative and qualitative. The LIS approach also uses the idea of threshold concepts: the ideas that transform how a learner sees a topic and which are thought to lead to a deep understanding. There is also an emphasis on what the British academic Alan Wilson called \"super-concepts\": ideas like evolution and entropy that were developed in one field of research but have come to be used in many.\n\nAdmissions \nProspective students apply directly to the LIS rather than through the university admissions service UCAS. Admissions decisions are not focused solely on grades but on each applicant's \"background, circumstance and talent\", though GCSEs and predicted grades will still be taken into account. Every applicant is interviewed by a panel. LIS give out conditional, contextual offers which take into account each applicant's starting point in life.\n\nStatus \nThe LIS was registered at Companies House in 2017. An order by the Office for Students, the UK's regulator of higher education, gave the LIS the power to award BASc (Hons) degrees in Interdisciplinary Problems and Methods from September 2021 onwards. This regulatory approval also allows students to pay fees using the national student loan scheme. As a teaching-focused institution, LIS takes part in the Teaching Excellence Framework but not the Research Excellence Framework.\n\nThe institution has raised money from philanthropists and investors including the founders of Innocent Drinks and the peer-to-peer funding platform Funding Circle. It was required to demonstrate financial security for at least five years as part of regulatory approval. It also receives public funding via the Future Fund, supported by the Treasury and the Department for Business, Energy and Industrial Strategy.\n\nFounders and leadership \nLIS was co-founded by a handful of educationalists and entrepreneurs in 2017. The CEO, Ed Fidoe, was a manager at McKinsey & Company until leaving to co-found School 21 in 2012. School 21 is a London-based primary, secondary and high school that focuses on disadvantaged students and emphasises multi-disciplinary education and communication skills. The Chair, Christopher Persson, is an entrepreneur who co-founded the online restaurant reservation service Bookatable. Carl Gombrich, the Academic Lead, was a professor of Interdisciplinary Education at University College London and created its Bachelor of Arts and Sciences degree.\n\nThe LIS has a Board of Directors providing oversight, an Academic Council, and an Executive Group which is responsible for operational issues. The board members include Andrew Mullinger, co-founder of Funding Circle; Mary Curnock Cook, former CEO of the national university admissions service UCAS; and writer and broadcaster Kenan Malik. There is also an advisory group which includes corporate leaders and the Chief Superintendent of the Metropolitan Police. Daisy Christodoulou, author of Seven Myths about Education, is also an advisor.\n\nReception \nThe LIS was given a Quality and Standards review by the Quality Assurance Agency for Higher Education in 2020. This looked at a range of issues, including course design, staffing, student involvement, and transparency. The report states that the institution met all the criteria that were assessed, with high confidence.\n\nPaul Ashwin, Professor of Higher Education at Lancaster University, observes that the approach of the LIS has precedents in interdisciplinary polytechnic education and in the \"new universities\" created in the 1960s. He contrasts the LIS' \"coherent and carefully designed\" approach against other attempts at interdisciplinary education that combine unrelated modules or which focus on generic skills. According to Ashwin \"the underlying educational approach [of LIS] looks sound\" but some elements of its marketing appeal to perceptions of \"elite\" higher education which themselves reinforce social inequality.\n\nThe philosopher Tom Whyman approves of the goal of a polymathic education to prepare students to address complex problems, but questions whether the LIS will be truly polymathic. Whyman stresses that these problems have a political dimension and that solving them might involve radical changes to existing institutions such as major corporations or the police. Hence, he argues, students face a conflict of interest when the same powerful institutions they could be reforming are involved in their education and work placement. Alex Beard, author of Natural Born Learners and director of Teach For All, says that the institution's choice of teaching staff \"pitch[es] it firmly in the academic and rigorous, yet progressive and new space, which means it’s got a great chance of succeeding with students and policymakers alike.\"\n\nThe World Economic Forum characterised LIS as an \"innovative new concept in higher education\" which \"is taking a new approach to teaching and learning, with a cross-curricular focus on tackling the most important problems facing the world.\" A leader in The Times observed \"a familiar lament that the education system is too narrow for employers who need people who can solve complex problems that cut across traditional disciplinary boundaries\" and described it as \"encouraging\" that corporations are supporting the LIS in its polymathic approach. \"The Evening Standard has described LIS as a \"revolutionary London university which aims to tackle real world problems\". Forbes argues that the multidisciplinary approach championed by LIS is more relevant to today's world than traditional higher education which was designed for the industrial age: \"The number of companies backing the venture highlights the desire for employees with a very different skillset to that produced by universities today.\"\n\nSee also\nList of universities in the United Kingdom\nNew College of the Humanities at Northeastern\n\nReferences\n\nExternal links \n \n\nUniversities in London\nEducation in the United Kingdom\nUniversities in the United Kingdom\nEducation in London\nHigher education in the United Kingdom",
"Tomasz Rafał Lis (born 6 March 1966 in Zielona Góra) is a Polish journalist and former TV anchor of “TVN Fakty” (\"TVN Facts\") and “Wydarzenia” (\"Events\").\n\nLife and career\n\nHe was born on 6 March 1966 in Zielona Góra to parents Stefan and Wanda (née Adamkiewicz). He attended the Edward Dembowski High School No. 1 in Zielona Góra. He subsequently graduated from the Faculty of Journalism and Political Sciences at the University of Warsaw. He began his career in 1984 publishing an article in a pro-Soviet newspaper Standard for the Young (Sztandar Młodych), an organ of the Union of Socialistic Youth in Poland (Związek Socjalistycznej Młodzieży Polskiej). In 1992, he received a scholarship and studied for a year at the Loyola University New Orleans. After the fall of communism in Poland, he worked in the Public Television Polish Television (TVP) after winning an open competition for the post of a newsreader.\n\nFrom 1994 to 1997: correspondent in Washington, D.C. for TVP.\n\nFrom 1997 to 2004: co-author of “Fakty TVN” on Polish television station TVN.\n\nFrom 2006 to 2007: editor-in-chief of \"Wydarzenia\" on Polsat.\n\nIn 2003 he published his book Co z tą Polską? (What's with Poland?) which became a bestseller in Poland (selling over 100,000 copies).\n\nFrom late 2010 to February 2012: editor-in-chief of the current affairs weekly \"Wprost.\"\n\nIn March 2012 he became editor-in-chief of \"Newsweek Polska.\"\n\nIn 2017 Tomasz Lis was shortlisted for the European Press Prize, for his columns in Newsweek Polska.\n\nAwards\nWiktor Award (9-time laureate)\nSuper Wiktor Award (2006)\nJournalist of the Year (1997), (2007), (2009)\nTelekamera Award (2002), (2006)\nKisiel Prize (2005)\nOfficer's Cross of the Order of Polonia Restituta (2014)\n\nControversies\nOn September 7, 2015, the Newsweek Polska weekly led by Tomasz Lis published an article by Wojciech Cieśl and Michał Krzymowski about the chairman of the Solidarity Trade Union, Piotr Duda. The cover text described the trade unionist's luxurious vacation, it was also suggested that part of the costs of the stay was covered with the union's money, and the holidaymaker did not pay for some of the standard-paid services due to the position held and the organization's connections with the hotel. In the court battle that had been going on for three years, on 5 July 2018, a final judgment was issued ordering Lis to publish a correction to a text which he had previously refused as the editor-in-chief of the weekly.\n\nDuring the 2015 presidential election campaign, in the TVP2 program Tomasz Lis, the journalist referred to a post on the Twitter profile, which, according to the journalist, was to belong to the daughter of the future president, Andrzej Duda. Kinga Duda was to announce that if her father wins the election, she will make efforts for the director Paweł Pawlikowski to return the Oscar for the film Ida. The information was not checked and it soon turned out that the profile did not belong to Kinga Duda, and she had never been accused of it herself. The case did not end with a trial, because Lis apologized to the candidate during a short interview in front of the TVP headquarter. Polish Television apologized to the candidate for the journalist's behavior in the main issue of TVP1 Wiadomości.\n\nIn 2018, he participated in the protests of the Committee for the Defence of Democracy against the new Law and Justice government.\n\nFamily\nHe married Kinga Rusin in June 1994. The couple divorced on June 27, 2006. They have two daughters: Pola (born in 1996) and Iga, born in 2000. In 2007 married a well-known Polish journalist, Hanna Smoktunowicz who was the best friend of his first wife\n\nExternal links\n Tomasz Lis Live\n Tomasz Lis Blog\n\nReferences\n\n Lis, Tomasz. \"Moje życie w barze.\" Tomasz Lis - Blog, published 6 April 2014. URL: https://natemat.pl/blogi/tomaszlis/9287,moje-zycie-w-barze. Last accessed 9 March 2019.\n\n1966 births\nLiving people\nPeople from Zielona Góra\nPolish journalists\nPolish male writers\nPolish television personalities\nUniversity of Warsaw alumni\nPolish magazine editors"
]
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"Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school,",
"What is the worst with these people",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews.",
"What did this make him try and do",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews.",
"How did this lead to the wrong",
"She offered the headmaster 50 roubles to let him attend, which he accepted.",
"What did this make him do",
"She offered the headmaster 50 roubles to let him attend, which he accepted.",
"What did lis lead them to believe",
"He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist."
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| C_fb39cb009c7c428b96355283503ac7ff_1 | What did this lead this do to his dream | 8 | What did copying images from books lead to Chagall's dream? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
1887 births
1985 deaths
People from Liozna District
People from Orshansky Uyezd
Belarusian Jews
Painters of the Russian Empire
Russian male painters
Artists of the Russian Empire
Soviet painters
Belarusian painters
20th-century French painters
20th-century male artists
French male painters
Jewish painters
Modern painters
Neo-primitivism
Russian avant-garde
Russian stained glass artists and manufacturers
Yiddish-language poets
Wolf Prize in Arts laureates
Ballet designers
Levites
Soviet Jews
Emigrants from the Russian Empire to France
French people of Belarusian-Jewish descent
School of Paris
Russian Freemasons
French Freemasons
Members of the Grand Orient of Russia’s Peoples
Jewish School of Paris
Grand Croix of the Légion d'honneur
Members of the Royal Academy of Belgium
French tapestry artists
Emigrants from the Russian Empire to the United States
Honorary Members of the Royal Academy
Russian textile artists
Naturalized citizens of France | true | [
"Boy Krazy is the self-titled debut of girl group Boy Krazy. This was the only album the group made. It was produced by Mike Stock and Pete Waterman, except \"That's What Love Can Do\" and \"Good Times with Bad Boys\", which are a Stock Aitken & Waterman production. Each member sings the lead vocals on at least two songs on the album. \n\nThe album includes their biggest hit \"That's What Love Can Do\", as well as the singles \"All You Have to Do\" and \"Good Times With Bad Boys\". A planned fourth single, \"Love is a Freaky Thing\", was never released as Johnna Cummings left the band in late 1993.\n\nThe album was released in North America first, and then through Europe and Asia. The American releases feature a guitar-driven version of the album track \"On a Wing and a Prayer\", whereas the European and Asian releases feature a mix more similar to Stock, Aitken & Waterman's typical Europop. Two of the tracks on the album, \"That Kinda Love\" and \"Love Is a Freaky Thing\", had been previously recorded by R&B group The Cool Notes, who worked with Stock & Waterman in 1991, but their versions were never released at the time. The latter was released through iTunes in 2009.\n\nIn August 2009, Boy Krazy's back catalogue was reissued through iTunes, including three songs recorded for the album but never released: \"Exception to the Rule\", \"I'll Never Get Another Chance Like This\", and \"Don't Wanna Let You Go\". Also issued were a host of unreleased remixes, including commissioned mixes for the never released fourth single \"Love Is a Freaky Thing\".\n\nTrack listing \nAll songs written by Stock/Aitken/Waterman, except tracks 2, 4, 7 and 8 (Stock/Waterman).\n\"That's What Love Can Do\" (1993 Radio Mix) (3:22) (Lead vocals: Johnna Cummings)\n\"That Kinda Love\" (3:10) (Lead vocals: Kimberly Blake)\n\"On a Wing and a Prayer\" (3:43) (Lead vocals: Kimberly Blake)\n\"Different Class\" (3:14) (Lead vocals: Josselyne Jones and Kimberly Blake)\n\"Good Times with Bad Boys\" (3:10) (Lead vocals: Kimberly Blake and Johnna Cummings)\n\"Just Like a Dream Come True\" (3:28) (Lead vocals: Ruth Ann Roberts)\n\"Love Is a Freaky Thing\" (3:27) (Lead vocals: Josselyne Jones)\n\"All You Have to Do\" (3:12) (Lead vocals: Johnna Cummings, additional vocals: Josselyne Jones, Kimberly Blake and Ruth Ann Roberts)\n\"One Thing Leads to Another\" (1993 version) (3:12) (Lead vocals: Johnna Cummings, Kimberly Blake, Ruth Ann Roberts and Josselyne Jones)\n\"Who Could Ask for Anything More\" (3:11) (Lead vocals: Ruth Ann Roberts)\n\nTrack listing (cherry pop CD re-release) \nReleased 20/09/10\n\n\"That's What Love Can Do\" (1991 Single Mix) (3:15) (Lead vocals: Johnna Cummings)\n\"That Kinda Love\" (3:10) (Lead vocals: Kimberly Blake)\n\"On A Wing and a Prayer\" (European Version) (3:55) (Lead vocals: Kimberly Blake)\n\"Different Class\" (Alternative Mix) (3:45) (Lead vocals: Josselyne Jones and Kimberly Blake)\n\"Good Times with Bad Boys\" (3:10) (Lead vocals: Kimberly Blake and Johnna Cummings)\n\"Just Like a Dream Come True\" (3:28) (Lead vocals: Ruth Ann Roberts)\n\"Love Is a Freaky Thing\" (3:27) (Lead vocals: Josselyne Jones)\n\"All You Have to Do\" (3:12) (Lead vocals: Johnna Cummings, additional vocals: Josselyne Jones, Kimberly Blake and Ruth Ann Roberts)\n\"One Thing Leads to Another\" (1993 version) (3:12) (Lead vocals: Johnna Cummings, Kimberly Blake, Ruth Ann Roberts and Josselyne Jones)\n\"Who Could Ask for Anything More?\" (3:11) (Lead vocals: Ruth Ann Roberts)\n\"Exception to the Rule\" (2:57) (Lead vocals: Josselyne Jones and Kimberly Blake)\n\"I'll Never Get Another Chance Like This\" (2:56) (Lead vocals: Ruth Ann Roberts)\n\"That's What Love Can Do (Extended Version) (7:13) (Lead vocals: Johnna Cummings)\n\"All You Have to Do (Extended Version) (7:22) (Lead vocals: Johnna Cummings, additional vocals: Josselyne Jones, Kimberly Blake and Ruth Ann Roberts)\n\"Good Times with Bad Boys (Dave Ford 12\" Mix) (5:04) (Lead vocals: Kimberly Blake and Johnna Cummings)\n\"Love Is a Freaky Thing (Lurve Dog 12\" Mix) (4:31) (Lead vocals: Josselyne Jones)\n\"On A Wing and a Prayer (Original Mix - USA Version) (3:46) (Lead vocals: Kimberly Blake)\n\"Just Like a Dream Come True (Original Mix) (3:27) (Lead vocals: Ruth Ann Roberts)\n\"Who Could Ask for Anything More? (Original Version) (3:10) (Lead vocals: Renée Veneziale)\n\"That's What Love Can Do (Original Mix) (3:27) (Lead vocals: Johnna Cummings)\n\nReferences\n\n1993 debut albums\nAlbums produced by Stock Aitken Waterman\nLondon Records albums",
"Any Dream Will Do may refer to:\n\n\"Any Dream Will Do\" (song), from the musical Joseph and the Amazing Technicolor Dreamcoat, written by Andrew Lloyd Webber and Tim Rice\nAny Dream Will Do (TV series), BBC television series that searched for a new, unknown lead to play Joseph in a West End revival of the musical Joseph and the Amazing Technicolor Dreamcoat"
]
|
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"Marc Chagall",
"Art education",
"What did this lead him to do",
"In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities.",
"What is the worst",
"Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school,",
"What is the worst with these people",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews.",
"What did this make him try and do",
"At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, \"But in that school, they don't take Jews.",
"How did this lead to the wrong",
"She offered the headmaster 50 roubles to let him attend, which he accepted.",
"What did this make him do",
"She offered the headmaster 50 roubles to let him attend, which he accepted.",
"What did lis lead them to believe",
"He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.",
"What did this lead this do to his dream",
"He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist."
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| C_fb39cb009c7c428b96355283503ac7ff_1 | What did this reach them to do | 9 | What did deciding to become an artist reach Chagall to do? | Marc Chagall | In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted. A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires. CANNOTANSWER | He eventually confided to his mother, "I want to be a painter", | Marc Chagall (born Moishe Shagal; 28 March 1985) was a French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Born in modern-day Belarus, then part of the Russian Empire, he was of Belarusian Jewish origin. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".
Early life and education
Early life
Marc Chagall was born Moishe Shagal in a Lithuanian Jewish Hassidic family in Liozna, near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000. Half of the population were Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after the cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire was 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout the Russian Empire. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Imperial Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.
Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it". During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives". When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live". Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.
Art education
In the Russian Empire at that time, Jewish children were not allowed to attend regular schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a regular high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.
Artistic inspiration
Goodman notes that during this period in Imperial Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."
Chagall biographer Franz Meyer explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
Art career
Russian Empire (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of the Russian Empire and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years. By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples. He belonged to the "Vitebsk" lodge.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin. Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me." Bella later wrote, of meeting him, "When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat."
France (1910–1914)
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire. Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.
He therefore developed friendships with Guillaume Apollinaire and other avant-garde artists including Robert Delaunay and Fernand Léger. Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true." His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Slavic folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."
Baal-Teshuva describes this new phase in Chagall's artistic development:
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night. "My homeland exists only in my soul", he once said. He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down. The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism. Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career". His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917. Chagall was 30 years old and had begun to become well known.
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart". Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned the Russian Empire "upside down the way I turn my pictures". By then he was one of Imperial Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution". He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was tall by long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis. The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.
The First World War ended in 1918, but the Russian Civil War continued, and famine spread. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although Chagall now had to commute to Moscow daily, using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts. In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat. By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva. It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook. He also visited nearby countries and later wrote about the impressions some of those travels left on him:
The Bible illustrations
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. In 1931 Marc Chagall and his family traveled to Tel Aviv on the invitation of Meir Dizengoff. Dizengoff had previously encouraged Chagall to visit Tel Aviv in connection with Dizengoff's plan to build a Jewish Art Museum in the new city. Chagall and his family were invited to stay at Dizengoff's house in Tel Aviv, which later became Independence Hall of the State of Israel.
Chagall ended up staying in the Holy Land for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations". Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past". Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists". Leymarie has described these drawings by Chagall as "monumental" and,
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels. Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped". Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the [British supported French army] capitulated even more quickly than Poland had done" a year earlier. Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world." Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation." Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaïm Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman. Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
After prodding by their daughter Ida, who "perceived the need to act fast", and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. In April 1941, Chagall and his wife were stripped of their French citizenship. The Chagalls stayed in a hotel in Marseille where they were arrested along with other Jews. Varian Fry managed to pressure the French police to release him, threatening them of scandal. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union. Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work. A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.
United States (1941–1948)
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Aleko ballet (1942)
He was offered a commission by choreographer Léonide Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Alexander Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. The ballet was originally planned for a New York debut, but as a cost-saving measure it was moved to Mexico where labor costs were cheaper than in New York. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there. Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered at the Palacio de Bellas Artes in Mexico City on 8 September 1942 it was considered a "remarkable success." In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Clemente Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The production then moved to New York, where it was presented four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening". Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
Coming to grips with World War II
After Chagall returned to New York in 1943 current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed. He also learned about the Nazi concentration camps. During a speech in February 1944, he described some of his feelings:
In the same speech he credited Soviet Russia with doing the most to save the Jews:
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory. Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946. Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
Post-war years
By 1946, his artwork was becoming more widely recognized. The Museum of Modern Art in New York had a large exhibition representing 40 years of his work which gave visitors one of the first complete impressions of the changing nature of his art over the years. The war had ended and he began making plans to return to Paris. According to Cogniat, "He found he was even more deeply attached than before, not only to the atmosphere of Paris, but to the city itself, to its houses and its views." Chagall summed up his years living in America:
He went back for good during the autumn of 1947, where he attended the opening of the exhibition of his works at the Musée National d'Art Moderne.
France (1948–1985)
After returning to France he traveled throughout Europe and chose to live in the Côte d'Azur which by that time had become somewhat of an "artistic centre". Matisse lived near Saint-Paul-de-Vence, about seven miles west of Nice, while Picasso lived in Vallauris. Although they lived nearby and sometimes worked together, there was artistic rivalry between them as their work was so distinctly different, and they never became long-term friends. According to Picasso's mistress, Françoise Gilot, Picasso still had a great deal of respect for Chagall, and once told her,
In April 1952, Virginia Haggard left Chagall for the photographer Charles Leirens; she went on to become a professional photographer herself.
Chagall's daughter Ida married art historian Franz Meyer in January 1952, and feeling that her father missed the companionship of a woman in his home, introduced him to Valentina (Vava) Brodsky, a woman from a similar Russian Jewish background, who had run a successful millinery business in London. She became his secretary, and after a few months agreed to stay only if Chagall married her. The marriage took place in July 1952—though six years later, when there was conflict between Ida and Vava, "Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava" (Jean-Paul Crespelle, author of Chagall, l'Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall).
In 1954, he was engaged as set decorator for Robert Helpmann's production of Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden, but he withdrew. The Australian designer Loudon Sainthill was drafted at short notice in his place.
In the years ahead he was able to produce not just paintings and graphic art, but also numerous sculptures and ceramics, including wall tiles, painted vases, plates and jugs. He also began working in larger-scale formats, producing large murals, stained glass windows, mosaics and tapestries.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
Nonetheless, Chagall continued the project, which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required of paint. It had five sections which were glued to polyester panels and hoisted up to the ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Art styles and techniques
Color
According to Cogniat, in all Chagall's work during all stages of his life, it was his colors which attracted and captured the viewer's attention. During his earlier years his range was limited by his emphasis on form and his pictures never gave the impression of painted drawings. He adds, "The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes... they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones... His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms."
He was able to convey striking images using only two or three colors. Cogniat writes, "Chagall is unrivalled in this ability to give a vivid impression of explosive movement with the simplest use of colors..." Throughout his life his colors created a "vibrant atmosphere" which was based on "his own personal vision."
Subject matter
From life memories to fantasy
Chagall's early life left him with a "powerful visual memory and a pictorial intelligence", writes Goodman. After living in France and experiencing the atmosphere of artistic freedom, his "vision soared and he created a new reality, one that drew on both his inner and outer worlds." But it was the images and memories of his early years in Belarus that would sustain his art for more than 70 years.
According to Cogniat, there are certain elements in his art that have remained permanent and seen throughout his career. One of those was his choice of subjects and the way they were portrayed. "The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization..." Musicians have been a constant during all stages of his work. After he first got married, "lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere." Wullschlager explains the sources for these images:
Chagall described his love of circus people:
His early pictures were often of the town where he was born and raised, Vitebsk. Cogniat notes that they are realistic and give the impression of firsthand experience by capturing a moment in time with action, often with a dramatic image. During his later years, as for instance in the "Bible series", subjects were more dramatic. He managed to blend the real with the fantastic, and combined with his use of color the pictures were always at least acceptable if not powerful. He never attempted to present pure reality but always created his atmospheres through fantasy. In all cases Chagall's "most persistent subject is life itself, in its simplicity or its hidden complexity... He presents for our study places, people, and objects from his own life".
Jewish themes
After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes) Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.
World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life." Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."
In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):
Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization." Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.
Music played an important role in shaping the subjects of his work. While he later came to love the music of Bach and Mozart, during his youth he was mostly influenced by the music within the Hasidic community where he was raised. Art historian Franz Meyer points out that one of the main reasons for the unconventional nature of his work is related to the hassidism which inspired the world of his childhood and youth and had actually impressed itself on most Eastern European Jews since the 18th century. He writes, "For Chagall this is one of the deepest sources, not of inspiration, but of a certain spiritual attitude... the hassidic spirit is still the basis and source of nourishment of his art." In a talk that Chagall gave in 1963 while visiting America, he discussed some of those impressions.
However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.
He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.
Other types of art
Stained glass windows
One of Chagall's major contributions to art has been his work with stained glass. This medium allowed him further to express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing: everything from the position where the viewer stood to the weather outside would alter the visual effect (though this is not the case with his Hadassah windows). It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for Metz Cathedral.
Jerusalem Windows (1962)
In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass", although Virginia Haggard McNeil records Chagall's disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light.
French philosopher Gaston Bachelard commented that "Chagall reads the Bible and suddenly the passages become light." In 1973 Israel released a 12-stamp set with images of the stained-glass windows.
The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan... In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows:
At the dedication ceremony in 1962, Chagall described his feelings about the windows:
Peace, United Nations building (1964)
In 1964 Chagall created a stained-glass window, entitled Peace, for the UN in honor of Dag Hammarskjöld, the UN's second secretary general who was killed in an airplane crash in Africa in 1961. The window is about wide and high and contains symbols of peace and love along with musical symbols. In 1967 he dedicated a stained-glass window to John D. Rockefeller in the Union Church of Pocantico Hills, New York.
Fraumünster in Zurich, Switzerland (1967)
The Fraumünster church in Zurich, Switzerland, founded in 853, is known for its five large stained glass windows created by Chagall in 1967. Each window is tall by wide. Religion historian James H. Charlesworth notes that it is "surprising how Christian symbols are featured in the works of an artist who comes from a strict and Orthodox Jewish background." He surmises that Chagall, as a result of his Russian background, often used Russian icons in his paintings, with their interpretations of Christian symbols. He explains that his chosen themes were usually derived from biblical stories, and frequently portrayed the "obedience and suffering of God's chosen people." One of the panels depicts Moses receiving the Torah, with rays of light from his head. At the top of another panel is a depiction of Jesus' crucifixion.
St Stephan's church in Mainz, Germany (1978)
In 1978 he began creating windows for St Stephan's church in Mainz, Germany. Today, 200,000 visitors a year visit the church, and "tourists from the whole world pilgrim up St Stephan's Mount, to see the glowing blue stained glass windows by the artist Marc Chagall", states the city's web site. "St Stephan's is the only German church for which Chagall has created windows."
The website also notes, "The colours address our vital consciousness directly, because they tell of optimism, hope and delight in life", says Monsignor Klaus Mayer, who imparts Chagall's work in mediations and books. He corresponded with Chagall during 1973, and succeeded in persuading the "master of colour and the biblical message" to create a sign for Jewish-Christian attachment and international understanding. Centuries earlier Mainz had been "the capital of European Jewry", and contained the largest Jewish community in Europe, notes historian John Man. In 1978, at the age of 91, Chagall created the first window and eight more followed. Chagall's collaborator Charles Marq complemented Chagall's work by adding several stained glass windows using the typical colors of Chagall.
All Saints' Church, Tudeley, UK (1963–1978)
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall. The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Chichester Cathedral, West Sussex, UK
On the north side of Chichester Cathedral there is a stained glass window designed and created by Chagall at the age of 90. The window, his last commissioned work, was inspired by Psalm 150; 'Let everything that hath breath praise the Lord' at the suggestion of Dean Walter Hussey. The window was unveiled by the Duchess of Kent in 1978.
America Windows, Chicago
Chagall visited Chicago in the early 1970s to install his mural The Four Seasons, and at that time was inspired to create a set of stained glass windows for the Art Institute of Chicago. After discussions with the Art Institute and further reflection, Chagall made the windows a tribute to the American Bicentennial, and in particular the commitment of the United States to cultural and religious freedom. The windows appeared prominently in the 1986 movie Ferris Bueller's Day Off. From 2005 to 2010, the windows were moved due to nearby construction on a new wing of the Art Institute, and for archival cleaning.
Murals, theatre sets and costumes
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist Léon Bakst. It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms." These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."
As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as Gogol and Singe. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.
After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre". His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in America. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's Firebird. These designs contributed greatly towards his enhanced reputation in America as a major artist and, as of 2013, are still in use by New York City Ballet.
Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions." His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for Ravel's Daphnis and Chloë in 1958.
In 1964 he repainted the ceiling of the Paris Opera using of canvas. He painted two monumental murals which hang on opposite sides of the new Metropolitan Opera house at Lincoln Center in New York which opened in 1966. The pieces, The Sources of Music and The Triumph of Music, which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of Die Zauberflöte for the company which opened in February 1967 and was used through the 1981/1982 season.
Tapestries
Chagall also designed tapestries which were woven under the direction of Yvette Cauquil-Prince, who also collaborated with Picasso. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market. Chagall designed three tapestries for the state hall of the Knesset in Israel, along with 12-floor mosaics and a wall mosaic.
Ceramics and sculpture
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the Côte d'Azur with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including Picasso and Fernand Léger. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.
After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."
Final years and death
Author Serena Davies writes that "By the time he died in France in 1985—the last surviving master of European modernism, outliving Joan Miró by two years—he had experienced at first hand the high hopes and crushing disappointments of the Russian revolution, and had witnessed the end of the Pale of Settlement, the near annihilation of European Jewry, and the obliteration of Vitebsk, his home town, where only 118 of a population of 240,000 survived the Second World War."
Chagall's final work was a commissioned piece of art for the Rehabilitation Institute of Chicago. The maquette painting titled Job had been completed, but Chagall died just before the completion of the tapestry.
Yvette Cauquil-Prince was weaving the tapestry under Chagall's supervision and was the last person to work with Chagall. She left Vava and Marc Chagall's home at 4 pm on 28 March after discussing and matching the final colors from the maquette painting for the tapestry. He died that evening.
His relationship with his Jewish identity was "unresolved and tragic", Davies states. He would have died without Jewish rites, had not a Jewish stranger stepped forward and said the kaddish, the Jewish prayer for the dead, over his coffin. Chagall is buried alongside his last wife Valentina "Vava" Brodsky Chagall, in the multi-denominational cemetery in the traditional artists' town of Saint-Paul-de-Vence, in the French region of Provence.
Gallery
Legacy and influence
Chagall biographer Jackie Wullschlager praises him as a "pioneer of modern art and one of its greatest figurative painters... [who] invented a visual language that recorded the thrill and terror of the twentieth century." She adds:
Art historians Ingo Walther and Rainer Metzger refer to Chagall as a "poet, dreamer, and exotic apparition." They add that throughout his long life the "role of outsider and artistic eccentric" came naturally to him, as he seemed to be a kind of intermediary between worlds: "as a Jew with a lordly disdain for the ancient ban on image-making; as a Russian who went beyond the realm of familiar self-sufficiency; or the son of poor parents, growing up in a large and needy family." Yet he went on to establish himself in the sophisticated world of "elegant artistic salons."
Through his imagination and strong memories Chagall was able to use typical motifs and subjects in most of his work: village scenes, peasant life, and intimate views of the small world of the Jewish village (shtetl). His tranquil figures and simple gestures helped produce a "monumental sense of dignity" by translating everyday Jewish rituals into a "timeless realm of iconic peacefulness". Leymarie writes that Chagall "transcended the limits of his century. He has unveiled possibilities unsuspected by an art that had lost touch with the Bible, and in doing so he has achieved a wholly new synthesis of Jewish culture long ignored by painting." He adds that although Chagall's art cannot be confined to religion, his "most moving and original contributions, what he called 'his message,' are those drawn from religious or, more precisely, Biblical sources."
Walther and Metzger try to summarize Chagall's contribution to art:
Andre Malraux praised him. He said: "[Chagall] is the greatest image-maker of this century. He has looked at our world with the light of freedom, and seen it with the colours of love."
Art market
A 1928 Chagall oil painting, Les Amoureux, measuring 117.3 x 90.5 cm, depicting Bella Rosenfeld, the artist's first wife and adopted home Paris, sold for $28.5 million (with fees) at Sotheby's New York, 14 November 2017, almost doubling Chagall's 27-year-old $14.85 million auction record.
In October 2010, his painting Bestiaire et Musique, depicting a bride and a fiddler floating in a night sky amid circus performers and animals, "was the star lot" at an auction in Hong Kong. When it sold for $4.1 million, it became the most expensive contemporary Western painting ever sold in Asia.
In 2013, previously unknown works by Chagall were discovered in the stash of artworks hidden away by the son of one of Hitler's art dealers, Hildebrand Gurlitt.
Theatre
In the 1990s, Daniel Jamieson wrote The Flying Lovers of Vitebsk, a play concerning the life of Chagall and partner Bella. It has been revived multiple times, most recently in 2020 with Emma Rice directing a production which was live-streamed from the Bristol Old Vic and then made available for on-demand viewing, in partnership with theaters around the world. This production had Marc Antolin in the role of Chagall and Audrey Brisson playing Bella Chagall; produced during the COVID epidemic, it required the entire crew to quarantine together to make the live performance and broadcast possible.
Exhibitions and tributes
During his lifetime, Chagall received several honors:
In 1960, Brandeis University awarded Marc Chagall an honorary degree in Laws, at its 9th Commencement.
In 1977, the city of Jerusalem bestowed upon him the Yakir Yerushalayim (Worthy Citizen of Jerusalem) award.
Also in 1977, the government of France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
1974: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
1963 documentary
Chagall, a short 1963 documentary, features Chagall. It won the 1964 Academy Award for Best Short Subject Documentary.
Postage stamp tributes
Because of the international acclaim he enjoyed and the popularity of his art, a number of countries have issued commemorative stamps in his honor depicting examples from his works. In 1963 France issued a stamp of his painting, The Married Couple of the Eiffel Tower. In 1969, Israel produced a stamp depicting his King David painting. In 1973 Israel released a 12-stamp set with images of the stained-glass windows that he created for the Hadassah Hebrew University Medical Center Synagogue; each window was made to signify one of the "Twelve Tribes of Israel".
In 1987, as a tribute to recognize the centennial of his birth in Belarus, seven nations engaged in a special omnibus program and released postage stamps in his honor. The countries which issued the stamps included Antigua & Barbuda, Dominica, The Gambia, Ghana, Sierra Leone and Grenada, which together produced 48 stamps and 10 souvenir sheets. Although the stamps all portray his various masterpieces, the names of the artwork are not listed on the stamps.
Exhibitions
There were also several major exhibitions of Chagall's work during his lifetime and following his death.
In 1967, the Louvre in Paris exhibited 17 large-scale paintings and 38 gouaches, under the title of "Message Biblique", which he donated to the nation of France on condition that a museum was to be built for them in Nice. In 1969 work began on the museum, named Musée National Message Biblique Marc Chagall. It was completed and inaugurated on 7 July 1973, on Chagall's birthday. Today it contains monumental paintings on biblical themes, three stained-glass windows, tapestries, a large mosaic and numerous gouaches for the "Bible series."
From 1969 to 1970, the Grand Palais in Paris held the largest Chagall exhibition to date, including 474 works. The exhibition was called "Hommage a Marc Chagall", was opened by the French President and "proved an enormous success with the public and critics alike."
The Dynamic Museum in Dakar, Senegal held an exhibition of his work in 1971.
In 1973, he traveled to the Soviet Union, his first visit back since he left in 1922. The Tretiakov Gallery in Moscow had a special exhibition for the occasion of his visit. He was able to see again the murals he long ago made for the Jewish Theatre. In St. Petersburg, he was reunited with two of his sisters, whom he had not seen for more than 50 years.
In 1982, the Moderna Museet in Stockholm, Sweden organized a retrospective exhibition which later traveled to Denmark.
In 1985, the Royal Academy in London presented a major retrospective which later traveled to Philadelphia. Chagall was too old to attend the London opening and died a few months later.
In 2003, a major retrospective of Chagall's career was organized by the Réunion des Musées Nationaux, Paris, in conjunction with the Musée National Message Biblique Marc Chagall, Nice, and the San Francisco Museum of Modern Art.
In 2007, an exhibition of his work titled "Chagall of Miracles", was held at Il Complesso del Vittoriano in Rome, Italy.
The regional art museum in Novosibirsk had a Chagall exhibition on his biblical subjects between 16 June 2010 and 29 August 2010.
The Musée d'art et d'histoire du judaïsme in Paris had a Chagall exhibition titled "Chagall and the Bible" in 2011.
The Luxembourg Museum in Paris held a Chagall retrospective in 2013.
The Jewish Museum in New York City has held multiple exhibitions on Chagall including the 2001 exhibit Marc Chagall: Early Works from Russian Collections and the exhibit 2013 Chagall: Love, War and Exhile.
Current exhibitions and permanent displays
Chagall's work is housed in a variety of locations, including the 'Palais Garnier' (the Opera de Paris), the Art Institute of Chicago, Chase Tower Plaza of downtown Chicago, the Metropolitan Opera, the Metz Cathedral, Notre-Dame de Reims, the Fraumünster abbey in Zürich, Switzerland, the Church of St. Stephan in Mainz, Germany and the Musée Marc Chagall Nice, France, which Chagall helped to design.
The only church in the world with a complete set of Chagall window-glass is located in the tiny village of Tudeley, in Kent, England.
Twelve stained-glass windows are part of Hadassah Hospital Ein Kerem in Jerusalem, Israel. Each frame depicts a different tribe.
In the United States, the Union Church of Pocantico Hills contains a set of Chagall windows commemorating the prophets, which was commissioned by John D. Rockefeller, Jr.
The Lincoln Center in New York City, contains Chagall's huge murals; The Sources of Music and The Triumph of Music are installed in the lobby of the new Metropolitan Opera House, which began operation in 1966. Also in New York, the United Nations Headquarters has a stained glass wall of his work. In 1967 the UN commemorated this artwork with a postage stamp and souvenir sheet.
The family home on Pokrovskaya Street, Vitebsk, is now the Marc Chagall Museum.
The Museum of Biblical Art, Dallas, Texas has one of the largest collections of Chagall works on paper, hosting continuously holding rotating Chagall exhibitions.
The Marc Chagall Yufuin Kinrin-ko Museum in Yufuin, Kyushu, Japan, holds about 40–50 of his works.
Marc Chagall's late painting titled Job for the Job Tapestry in Chicago.
Picasso, Matisse, Chagall, featuring pieces from Chagall's Bible series and more is on display now at the Sangre de Cristo Arts Center in Pueblo, Colorado. This exhibit ends 11 January 2015.
Musée des Beaux Arts (Montreal Museum of Fine Arts) in Montreal Canada will be opening a Chagall exhibit on 28 January 2017 running until late June, with over 400 works on exhibit. The exhibit will then travel to Los Angeles in July 2017.
Other tributes
During the closing ceremony of the 2014 Winter Olympics in Sochi, a Chagall-like float with clouds and dancers passed by upside down hovering above 130 costumed dancers, 40 stilt-walkers and a violinist playing folk music.
See also
Apocalypse in Lilac, Capriccio
I and the Village
La Mariée (The Bride)
Soleil dans le ciel de Saint-Paul (Sun in the sky of Saint-Paul)
Bouquet près de la fenêtre (Bouquet by the Window)
List of Russian artists
List of Freemasons
Notes
References
Bibliography
Sidney Alexander, Marc Chagall: A Biography G.P. Putnam's Sons, New York, 1978.
Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon, London, 1998.
Marc Chagall, My Life, Peter Owen Ltd, London, 1965 (republished in 2003)
Susann Compton, Chagall Harry N. Abrams, New York, 1985.
Sylvie Forestier, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer, Chagall: The Stained Glass Windows. Paulist Press, Mahwah, 2017.
Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, Palo Alto, 2004.
Benjamin Harshav, Marc Chagall on Art and Culture, Stanford University Press, Palo Alto, 2003.
Aleksandr Kamensky, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
Aleksandr Kamensky, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia)
Brian Moynahan, Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, .
Aaron Nikolaj, Marc Chagall., Rowohlt Verlag, Hamburg, 2003 (In German)
Gianni Pozzi, Claudia Saraceni, L. R. Galante, Masters of Art: Chagall, Peter Bedrick Books, New York, 1990.
V.A. Shishanov,Vitebsk Museum of Modern Art – a History of Creation and a Collection 1918–1941, Medisont, Minsk, 2007.
Jonathan Wilson, Marc Chagall, Schocken Books, New York, 2007
Jackie Wullschlager, Chagall: A Biography Knopf, New York, 2008
Shishanov, V.A. Polish-language periodicals about Marc Chagall (1912 - 1940) / V. Shishanov, F. Shkirando // Chagall's collection. Issue 5: materials of the XXVI and XXVII Chagall readings in Vitebsk (2017 - 2019) / M. Chagall Museum; [editorial board: L. Khmelnitskaya (chief editor), I. Voronova]. - Minsk: National Library of Belarus, 2019. - P. 57–78. Russian language
External links
Marc Chagall Unofficial website
Marc Chagall Art website
Marc Chagall's Famous Belarusians page on Official Website of The Republic of Belarus
Floirat, Anetta. 2019, "Marc Chagall (1887–1985) and Igor Stravinsky (1882–1971), a painter and a composer facing similar twentieth-century challenges, a parallel. [revised version]", Academia.edu.
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Russian textile artists
Naturalized citizens of France | true | [
"Modes of Transportation Vol. 2: What's a Boy to Do? is an album released by Spookey Ruben in 1998, and was only ever released in Japan, but is now available as an import through Amazon.com and by digital release. The album had three singles reach the top 20 following its Japanese release.\n\nTracks from this album later appeared on his double album Bed and Breakfast more than three years later. In an interview, Spookey explained, \"I got permission to use them (to re-use for the double album). They’re [TVT Records] going to get a cut off this record.\"\n\nReception \n\nAs this album was never commercially released in the United States, there are very few reviews published for it. One review by the website FrankDoris.com exclaims, \"What's A Boy to Do? is a wild, exhilarating melange of styles and sounds, colliding, blending together, copulating and producing bizarre, mutated offspring. Take the first track, \"Sex Traffic,\" (gotta be an homage to Kraftwerk's Sex Object\")—a dizzying mix of French female vocal samples, snapping synthesizers, rubber-band ostinato bass, gritty electronic drums, sampled squealing tires and robotic monotonous vocals intoning \"Sex Traffic\" over it all—but it's freakin' fantastic! Then before you've recovered, Ruben jump-cuts into \"My Female Friends,\" its gorgeous piano chords, buoyant vocal and synth melodies and galloping rhythm three minutes and forty-four seconds of pure pop adrenaline. The record is a roller coaster thrill-ride of moods and kaleidoscopic instrumental sounds, from unbelievably pure and well-recorded acoustic guitars, glockenspiels and percussion to unbelievably processed squealing synths and sampled vocals. Actually, some of the sounds are completely unrecognizable.\"\n\nTrack listing \n Sex Traffic\n My Female Friends\n My Favorite Movie\n Why Did I Do What I Did\n Someone Else\n Who Pulls You Through\n N Kinski\n Don't Take Your Dog To The Park\n Dizzy Playground\n Roncesvalles\n Memory\n Lazy\n Overhill (Bonus)\n Mennonite Lady (Bonus)\n\nReferences\n\nExternal links \n Order the album at Amazon\n Hi-Hat's Website\n\n1998 albums\nSpookey Ruben albums\n\nde:Spookey Ruben",
"Expedition of Ali ibn Abi Talib, to Mudhij took place in 10AH, Ramadan of the Islamic Calendar, Around December 631 AD.\n\nMilitary Expedition\nAli was sent in December with 300 armed horsemen, to invite the people of Yemen to Islam. Ali was instructed by Muhammad to not engage them in fighting: \"go and do not look back, if you reach their place, do not fight them unless they attack you\". Ali sent out his men, they obtained spoils of war, women, children, camels and flock. Once he met with the people, he invited them to Islam. They rejected him and launched an attack with arrows and rocks. Ali and his men then charged back at them and killed 20 of their men, so they fled. Ali held back the army from pursuing the fleeing enemy and invited them once more to Islam. They quickly responded and pledged allegiance to him. The tribe did this quickly and submitted themselves to Muʿādh ibn Jabal, Muhammad's envoy in Yemen.\n\nSee also\nMilitary career of Muhammad\nList of expeditions of Muhammad\n\nReferences\n\nCampaigns ordered by Muhammad\n631"
]
|
[
"Mountain Jews",
"Religion"
]
| C_65871370da554ea89ac79105bcc5beaf_1 | What Religion do Mountain Jews follow | 1 | What Religion do Mountain Jews follow | Mountain Jews | Mountain Jews are considered, by some, to be of Sephardic lineage; this however is a misnomer as they are neither Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Germany and Eastern-Europe) but rather come directly by way of Persia. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders. The religious survival of the community was not without difficulties. In the prosperous days of Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gerhson Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent. Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qirmizi Q@s@b@ Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 40's. The closing of the synagogues in the 30's was part of communist ideology, which resisted religion of any kind. At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation. CANNOTANSWER | Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. | Mountain Jews or Caucasus Jews also known as Juhuro, Juvuro, Juhuri, Juwuri, Juhurim, Kavkazi Jews or Gorsky Jews ( Yehudey Kavkaz or Yehudey he-Harim; , ) are Jews of the eastern and northern Caucasus, mainly Azerbaijan, and various republics in the Russian Federation: Chechnya, Ingushetia, Dagestan, Karachay-Cherkessia, and Kabardino-Balkaria.
Mountain Jews are the descendants of Persian Jews from Iran. The Mountain Jews took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire as part of the Treaty of Gulistan of 1813.
The Mountain Jews community became established in Ancient Persia, from the 5th century BCE onwards; their language, called Judeo-Tat, is an ancient Southwest Iranian language which integrates many elements of Ancient Hebrew.
It is believed that they had reached Persia from Ancient Israel as early as the 8th century BCE. They continued to migrate east, settling in mountainous areas of the Caucasus. The Mountain Jews survived numerous historical vicissitudes by settling in extremely remote and mountainous areas. They were known to be accomplished warriors and horseback riders.
The main Mountain Jewish settlement in Azerbaijan is Qırmızı Qəsəbə, also called Jerusalem of the Caucasus. In Russian, Qırmızı Qəsəbə was once called Еврейская Слобода (translit. Yevreyskaya Sloboda), "Jewish Village"; but during Soviet times it was renamed Красная Слобода (translit. Krasnaya Sloboda), "Red Village."
Mountain Jews are distinct from Georgian Jews of the Caucasus Mountains. The two groups are culturally different, speaking different languages and having many differences in customs and culture. Mountain Jews are a part of the Mizrahi Jewish communities.
History
Early history
The Mountain Jews, or Jews of the Caucasus, have inhabited the Caucasus since the fifth century CE. Being the descendants of the Persian Jews of Iran, their migration from Persia proper to the Caucasus took place in the Sasanian era (224-651). It is believed that they had arrived in Persia, from Ancient Israel, as early as the 8th century BCE Other sources, attest that Mountain Jews were present in the region of Azerbaijan, at least since 457 BCE However, the Mountain Jews only took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire per the Treaty of Gulistan of 1813.
Mountain Jews have an oral tradition, passed down generation after generation, that they are descended from the Ten Lost Tribes which were exiled by the king of Assyria (Ashur), who ruled over northern Iraq from Mosul (across the Tigris River from the ancient city of Nineveh). The reference, most likely is to Shalmaneser, the King of Assyria who is mentioned in II Kings 18:9-12. According to local Jewish tradition, some 19,000 Jews departed Jerusalem (used here as a generic term for the Land of Israel) and passed through Syria, Babylonia, and Persia and then, heading north, entered into Media.
In Chechnya, Mountain Jews partially assimilated into Chechen society by forming a Jewish teip, the Zhugtii while three other teips, the Shuonoi, Ziloi and Chartoi have also been theorized to have Jewish relations. In Chechen society, ethnic minorities residing in areas demographically dominated by Chechens have the option of forming a teip in order to properly participate in the developments of Chechen society such as making alliances and gaining representation in the Mekhk Khell, a supreme ethnonational council that is occasionally compared to a parliament. Teips of minority-origin have also been made by ethnic Poles, Germans, Georgians, Armenians, Kumyks, Russians, Kalmyks, Circassians, Andis, Avars, Dargins, Laks, Persians, Arabs, Ukrainians and Nogais, with the German teip having been formed as recently as the 1940s when Germans in Siberian exile living among Chechens assimilated.
Mountain Jews maintained a strong military tradition. For this reason, some historians believe they may be descended from Jewish military colonists, settled by Parthian and Sassanid rulers in the Caucasus as frontier guards against nomadic incursions from the Pontic steppe.
A 2002 study by geneticist Dror Rosengarten found that the paternal haplotypes of Mountain Jews "were shared with other Jewish communities and were consistent with a Mediterranean origin." In addition, Y-DNA testing of Mountain Jews has shown they have Y-DNA haplotypes related to those of other Jewish communities. The Semitic origin of Mountain Jews is also evident in their culture and language.
"The Jewish Valley"
By the early 17th century, Mountain Jews formed many small settlements throughout mountain valleys of Dagestan. One valley, located 10 km south of Derbent, close to the shore of the Caspian Sea, was predominantly populated by Mountain Jews. Their Muslim neighbors called this area "Jewish Valley." The Jewish Valley grew to be a semi-independent Jewish state, with its spiritual and political center located in its largest settlement of Aba-Sava (1630-1800). The valley prospered until the end of the 18th century, when its settlements were brutally destroyed in the war between Sheikh-Ali-Khan, who swore loyalty to the Russian Empire, and Surkhai-Khan, the ruler of Kumukh. Many Mountain Jews were slaughtered, with survivors escaping to Derbent where they received the protection of Fatali Khan, the ruler of Quba Khanate.
In the 18th–19th centuries, the Jews resettled from the highland to the coastal lowlands but carried the name "Mountain Jews" with them. In the villages (aouls), the Mountain Jews had settled in separate sections. In the lowland towns they also lived in concentrated neighborhoods, but their dwellings did not differ from those of their neighbors. Mountain Jews retained the dress of the highlanders. They have continued to follow Jewish dietary laws and affirm their faith in family life. In 1902, The New York Times reported that clans of natives undoubtedly of Jewish origin, who maintain many of the customs and the principal forms of religious worship of their ancestors, were discovered in the remote regions of Eastern Caucasus.
Soviet times, Holocaust and modern history
By 1926, more than 85% of Mountain Jews in Dagestan were already classed as urban. Mountain Jews were mainly concentrated in the cities of Makhachkala, Buynaksk, Derbent, Nalchik and Grozny in North Caucasus; and Quba and Baku in Azerbaijan.
In the Second World War, some Mountain Jews settlements in North Caucasus, including parts of their area in Kabardino-Balkaria were occupied by the German Wehrmacht at the end of 1942. During this period, they killed several hundreds of Mountain Jews until the Germans retreated early 1943. On September 20, 1942, Germans killed 420 Mountain Jews near the village of Bogdanovka. Some 1000–1500 Mountain Jews were murdered during the Holocaust. Many Mountain Jews survived, however, because German troops did not reach all their areas; in addition, attempts succeeded to convince local German authorities that this group were "religious" but not "racial" Jews.
The Soviet Army's advances in the area brought the Nalchik community under its protection. The Mountain Jewish community of Nalchik was the largest Mountain Jewish community occupied by Nazis, and the vast majority of the population has survived. With the help of their Kabardian neighbors, Mountain Jews of Nalchik convinced the local German authorities that they were Tats, the native people similar to other Caucasus Mountain peoples, not related to the ethnic Jews, who merely adopted Judaism. The annihilation of the Mountain Jews was suspended, contingent on racial investigation. Although the Nazis watched the village carefully, Rabbi Nachamil ben Hizkiyahu hid Sefer Torahs by burying them in a fake burial ceremony. The city was liberated a few months later.
In 1944, the NKVD deported the entire Chechen populace that surrounded the Mountain Jews in Chechnya, and moved other ethnic groups into their homes; Mountain Jews mostly refused to take the homes of deported Chechens while there are some reports of deported Chechens entrusting their homes to Jews in order to keep them safe.
Given the marked changes in the 1990s following the dissolution of the Soviet Union and rise of nationalism in the region, many Mountain Jews permanently left their hometowns in the Caucasus and relocated to Moscow or abroad. During the First Chechen War, many Jews left due to the Russian invasion and indiscriminate bombardment of civilian population by the Russian military. Despite historically close relations between Jews and Chechens, many also suffered high rate of kidnappings and violence at the hands of armed ethnic Chechen gangs who ransomed their freedom to "Israel and the international Jewish community". Many Mountain Jews emigrated to Israel or the United States. Qırmızı Qəsəbə in Azerbaijan remains the biggest settlement of Mountain Jews in the world, with the current population over 3,000.
Economy
While elsewhere in the Russian Empire, Jews were prohibited from owning land (excluding the Jews of Siberia and Central Asia), at the end of the 19th and the beginning of the 20th century, the Mountain Jews owned land and were farmers and gardeners, growing mainly grain. Their oldest occupation was rice-growing, but they also raised silkworms and cultivated tobacco. The Jewish vineyards were especially notable. The Jews and their Christian Armenian neighbors were the main producers of wine, as Muslims were prohibited by their religion from producing or consuming alcohol. Judaism, in turn, limited some types of meat consumption. Unlike their neighbors, the Jews raised few domestic animals. At the same time, they were renowned tanners. Tanning was their third most important economic activity after farming and gardening. At the end of the 19th century, 6% of Jews were engaged in this trade. Handicrafts and commerce were mostly practiced by Jews in towns.
The Soviet authorities bound the Mountain Jews to collective farms, but allowed them to continue their traditional cultivation of grapes, tobacco, and vegetables; and making wine. In practical terms, the Jews are no longer isolated from other ethnic groups.
With increasing urbanization and sovietization in progress, by the 1930s, a layer of intelligentsia began to form. By the late 1960s, academic professionals, such as pharmacists, medical doctors, and engineers, were quite common among the community. Mountain Jews worked in more professional positions than did Georgian Jews, though less than the Soviet Ashkenazi community, who were based in larger cities of Russia. A sizable number of Mountain Jewish worked in the entertainment industry in Dagestan. The republic's dancing ensemble "Lezginka" was led by Tankho Israilov, a Mountain Jew, for twenty one years (1958–79).
Religion
Mountain Jews are not Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Central Europe) but rather of Persian Jewish origin, and they follow some Mizrachi customs. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.
Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders.
The religious survival of the community was not without difficulties. In the prosperous days of the Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gershon Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent.
Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qırmızı Qəsəbə Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 1940s. The closing of the synagogues in the 1930s was part of communist ideology, which resisted religion of any kind.
At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation.
Educational institutions, language, literature
Mountain Jews speak Judeo-Tat, also called Juhuri, a form of Persian; it belongs to the southwestern group of the Iranian division of the Indo-European languages. Judeo-Tat has Semitic (Hebrew/Aramaic/Arabic) elements on all linguistic levels. Among other Semitic elements, Judeo-Tat has the Hebrew sound "ayin" (ע), whereas no neighboring languages have it. Until the early Soviet period, the language was written with semi-cursive Hebrew alphabet. Later, Judeo-Tat books, newspapers, textbooks, and other materials were printed with a Latin alphabet and finally in Cyrillic, which is still most common today. The first Judeo-Tat-language newspaper, Zakhmetkesh (Working People), was published in 1928 and operated until the second half of the twentieth century.
Originally, only boys were educated through synagogue schools. Starting from the 1860s, many well-off families switched to home-schooling, hiring private tutors, who taught their sons not only Hebrew, but also Russian and Yiddish. In the early 20th century, with advance of sovietization, Judeo-Tat became the language of instruction at newly founded elementary schools attended by both Mountain Jewish boys and girls. This policy continued until the beginning of World War II, when schools switched to Russian as the central government emphasized acquisition of Russian as the official language of the Soviet Union.
The Mountain Jewish community has had notable figures in public health, education, culture, and art.
In the 21st century, the government is encouraging the cultural life of minorities. In Dagestan and Kabardino-Balkaria, Judeo-Tat and Hebrew courses have been introduced in traditionally Mountain Jewish schools. In Dagestan, there is support for the revival of the Judeo-Tat-language theater and the publication of newspapers in that language.
Culture
Military tradition
And we, the Tats
We, Samson warriors,
Bar Kochba's heirs...
we went into battles
and bitterly, heroically
struggled for our freedom
"The Song of the Mountain Jews"
Mountain Jews are known for their military tradition and have been historically viewed as fierce warriors. Some historians suggest that the group traces its beginnings to Persian-Jewish soldiers who were stationed in the Caucasus by the Sasanian kings in the fifth or sixth century to protect the area from the onslaughts of the Huns and other nomadic invaders from the east. Men were typically heavily armed and some slept without removing their weapons.
Dress
Over time the Mountain Jews adopted the dress of their Muslim neighbors. Men typically wore chokhas and covered their head with papakhas, many variations of which could symbolize the men's social status. Wealthier men's dress was adorned with many pieces of jewelry, including silver and gold-decorated weaponry, pins, chains, belts, or kisets (small purse used to hold tobacco or coins). Women's dress was typically of simpler design in dark tones, made from silk, brocade, velvet, satin and later wool. They decorated the fabric with beads, gold pins or buttons, and silver gold-plated belts. Outside the house, both single and married women covered their hair with headscarves.
Cuisine
Mountain Jewish cuisine absorbed typical dishes from various peoples of the Caucasus, Azerbaijani and Persian cuisine, adjusting some recipes to conform to the laws of kashrut. Typical Mountain Jewish dishes include chudu (a type of meat pie), shashlik, dolma, kurze or dushpare, yarpagi, khinkali, tara (herb stew with pieces of meat), nermov (chicken or other meat stew with wheat and beans), plov (pilaf), buglame (curry like stew of fish or chicken eaten with rice (osh)), etc. Jewish holidays-themed dishes include Eshkene, a Persian soup, prepared for Passover, and a variety of hoshalevo (honey-based treats made with sunflower seeds or walnuts) typically prepared for Purim.
Music
The music of Mountain Jews is mostly based in the standard liturgy, for prayer and the celebration of holidays. Celebratory music played during weddings and similar events is typically upbeat with various instruments to add layers to the sound.
Notable Mountain Jews
Omer Adam, Israeli singer
Udi Adam, Israeli general and the former head of the Israeli Northern Command
Yekutiel Adam (1927–1982), Israeli general and former Deputy Chief of Staff of the Israeli Defense Forces
Albert Agarunov (1969–1992), the National Hero of Azerbaijan, starshina of the Azerbaijani Army who died during the First Nagorno-Karabakh War
Yakov Agarunov (1907–1992), Soviet poet and playwright
Eduard Akuvaev (1945–2015), Soviet/Russian artist and teacher
Daniil Atnilov (1913–1968), Soviet poet
Manuvakh Dadashev (1913–1943), Soviet poet
Mishi Bakhshiev (1910–1972), Soviet writer and poet
Astrix, producer of Trance music
Hizgil Avshalumov (1913–2001), novelist, poet and playwright
Izi Davidov, major philanthropist during Soviet times, donated from his personal wealth to a multitude of people across the Caucasus, born in Krasnaya Sloboda (Gilgoti quarter)
Ilona Davidova, Russian-American entrepreneur, linguist, author, developer of novel high-speed technique for studying English
Mark Eliyahu, Israeli kamancheh player, born in Dagestan
Boris Gavrilov (1908–1990), Soviet writer and poet
Mikhail Gavrilov (1926–2014), Soviet writer and poet
Sarit Hadad, Israeli singer
Zarakh Iliev, Russian businessman, entrepreneur and real estate magnate
Gavril Abramovich Ilizarov (1921–1992), Soviet physician, known for inventing the Ilizarov apparatus for lengthening limb bones and for his eponymous surgery (Mountain Jewish father, Ashkenazi Jewish mother)
Telman Ismailov, businessman and entrepreneur, owner of AST group
Tankho Israelov (1917–1981), dancer, choreographer
Sergey Izgiyayev (1922–1972), author, translator, and songwriter
Mirza Khazar (1947–2020), Azerbaijani author, political analyst, anchorman, radio journalist, publisher, and translator
Tamara Musakhanov (1924–2014), Soviet sculptor and ceramist
Mushail Mushailov (1941–2007), Soviet/Russian artist and teacher
God Nisanov, Russian businessman, entrepreneur and real estate magnate
Iosif Prigozhin, Russian music producer, winner of the 1998 Ovation award in the category Producer of the Year
Lior Refaelov, Israeli football player
Zoya Semenduyeva (1929–2020), Soviet and Israeli poet
Robert Tiviaev, Israeli politician, current member of the Knesset
Israel Tsvaygenbaum, Russian-American artist (Ashkenazi Jewish father, Mountain Jewish mother)
Vladimir Yakubov, Soviet mathematician
Yaffa Yarkoni (1925–2012), Israeli singer, winner of the Israel Prize in 1998
Anatoly Yagudaev (1935–2014), sculptor. He held an honorary title of People's Artist of the Russian Federation
, Vice-President of the East-Asian Jewish Congress, Vice-President of the World Congress of Mountain Jews, President of the STMEGI International Charitable Foundation
Semen (Zalman) Ikhiilovich Divilov (1914–1988), economist, member of the board of the State Planning Committee of Azerbaijan 1952–1982
Zhasmin (née Sara Manakimovna), Russian pop-singer, winner of numerous music awards, including the Golden Gramophone Award (2000, 2001, 2003—2005, 2012—2015), Ovation (2000) and MTV Russia Music Awards (2005)
Gallery
See also
Mountain Jews in Israel
Israel-Azerbaijan relations
Qırmızı Qəsəbə, the primary settlement of Azerbaijan's population of Mountain Jews (3600).
Khazars
History of the Jews in Azerbaijan
World Congress of Mountain Jews
References
Further reading
External links
juhuro.com, website created by Vadim Alhasov in 2001. Daily updates reflect the life of Mountain Jewish (juhuro) community around the globe.
newfront.us, New Frontier is a monthly Mountain Jewish newspaper, founded in 2003. International circulation via its web site.
keshev-k.com, Israeli website of Mountain Jews
gorskie.ru, Mountain Jews, website in Russian language
"Judæo-Tat", Ethnologue
Jews
Jewish ethnic groups
Iranian Jews
Mizrahi Jews
Jews and Judaism in Persia and Iran
Jews
Mountain
Hill people
Ethnic groups in the Middle East | true | [
"\n\nMinor nations \n\nThere are multiple places where minor ethnicities live in Azerbaijan, such as mountain Jews in Qırmızı Qəsəbə (Red town), The Molokan village of İvanovka, Udi people in Nij and Khinalugs. There are some ethnic minorities like Russians, Lezgians, Tats and Talysh and other minorities that are represented in the National Assembly.\n\nEuropean communities \nEuropean ethnicities that immigrated to and lived in Azerbaijan during the 19th and early 20th centuries, following the Russian conquest of the Caucasus and the oil boom in the country brought about by industrialization, included Slavs (Russians, Ukrainians, Belarusians, Poles, Czechs, Slovaks, Bulgarians, Serbs), Germanic speakers (Germans, Swedes, Swiss, Dutch, British), Greeks, Romance speakers (Moldovans, Romanians, French, Italians), Balts (Lithuanians, Latvians), and Finno-Ugric speakers (Estonians, Finns, Hungarians, Mordovians, Mari).\n\nQırmızı Qəsəbə (Krasnaya Sloboda) \n\nQırmızı Qəsəbə locals speak 3 languages: Judeo-Tat (spoken in daily conversations), Russian and Azerbaijani. Also, school books in their own language are prepared for them in Azerbaijan. Today, around 4 thousand Jews live in Qırmızı Qəsəbə. While the prevalent Jewish subgroup are the Mountain Jews, other subgroups that have historically inhabited this village include the Ashkenazi Jews, Krymchaks, Kurdish Jews, and Georgian Jews.\n\nGovernmental aspect \nThe State Committee for Work with Religious Organizations of Azerbaijan Republic ensures the Freedom of Religion of 21 non-Muslim religious groups.\n\nArticle 25 and 44 of the Constitution of Azerbaijan grants minorities the equality of rights and liberties of everyone, irrespective of race, religion, language, sex, financial position, occupation, membership in political parties, trade unions and other public organizations.\n\nIlham Aliyev announced that year 2016 is called \"year of multiculturalism\", thereafter Aliyev announced a listed of planned activities. In order to execute these the Baku International Multiculturalism Center was developed to improve execution and relations between nations, conferences, and cultures in different projects.\n\nSee also \n Multiculturalism\n Religion in Azerbaijan\n History of the Jews in Azerbaijan\n\nReferences \n\nMulticulturalism and Islam\nAzerbaijani society",
"Charles Martin (born November 3, 1969) is an author from the Southern United States.\n\nMartin earned his B.A. in English from Florida State University and went on to receive an M.A. in Journalism and a Ph.D. in Communication from Regent University. He currently lives in Jacksonville, Florida.\n\nWorks\n\nNovels \n\nAwakening series:\n The Dead Don't Dance (2004)\n Maggie (2006)\n\nMurphy Shepard series:\n The Water Keeper (2020)\n The Letter Keeper (2021)\n The Record Keeper (Expected publication 2022)\n\nStand-alones:\n Wrapped in Rain (2005)\n When Crickets Cry (2006)\n Chasing Fireflies: A Novel of Discovery (2007)\n Where the River Ends (2008)\n The Mountain Between Us (2010)\n Thunder and Rain (2012)\n Unwritten (2013)\n A Life Intercepted (2014)\n Water from My Heart (2015)\n Long Way Gone (2016)\n Send Down the Rain (2018)\n\nNon-fiction \n\n River Road (2015), memoirs\n What If It's True?: A Storyteller’s Journey with Jesus (2019), religion\n They Turned the World Upside Down: A Storyteller's Journey with Those Who Dared to Follow Jesus (2021), religion\n If the Tomb Is Empty: Why the Resurrection Means Anything Is Possible (Expected publication 2022), with Joby Martin, religion\n If the Tomb Is Empty Study Guide: Why the Resurrection Means Anything Is Possible (Expected publication 2022), with Joby Martin, religion\n\nAdaptations \n\n The Mountain Between Us (2017), film directed by Hany Abu-Assad, based on novel The Mountain Between Us\n\nBibliography\n\nReferences\n\nExternal links\n Official US site for Charles Martin\n Official UK site for Charles Martin\n Interview with Charles Martin\n \n\n1969 births\nLiving people\nWriters from Florida\nFlorida State University alumni\nRegent University alumni"
]
|
[
"Mountain Jews",
"Religion",
"What Religion do Mountain Jews follow",
"Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism."
]
| C_65871370da554ea89ac79105bcc5beaf_1 | Do they have any specific rituals related to this worship? | 2 | Do Mountain Jews have any specific rituals? | Mountain Jews | Mountain Jews are considered, by some, to be of Sephardic lineage; this however is a misnomer as they are neither Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Germany and Eastern-Europe) but rather come directly by way of Persia. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders. The religious survival of the community was not without difficulties. In the prosperous days of Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gerhson Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent. Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qirmizi Q@s@b@ Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 40's. The closing of the synagogues in the 30's was part of communist ideology, which resisted religion of any kind. At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation. CANNOTANSWER | While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. | Mountain Jews or Caucasus Jews also known as Juhuro, Juvuro, Juhuri, Juwuri, Juhurim, Kavkazi Jews or Gorsky Jews ( Yehudey Kavkaz or Yehudey he-Harim; , ) are Jews of the eastern and northern Caucasus, mainly Azerbaijan, and various republics in the Russian Federation: Chechnya, Ingushetia, Dagestan, Karachay-Cherkessia, and Kabardino-Balkaria.
Mountain Jews are the descendants of Persian Jews from Iran. The Mountain Jews took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire as part of the Treaty of Gulistan of 1813.
The Mountain Jews community became established in Ancient Persia, from the 5th century BCE onwards; their language, called Judeo-Tat, is an ancient Southwest Iranian language which integrates many elements of Ancient Hebrew.
It is believed that they had reached Persia from Ancient Israel as early as the 8th century BCE. They continued to migrate east, settling in mountainous areas of the Caucasus. The Mountain Jews survived numerous historical vicissitudes by settling in extremely remote and mountainous areas. They were known to be accomplished warriors and horseback riders.
The main Mountain Jewish settlement in Azerbaijan is Qırmızı Qəsəbə, also called Jerusalem of the Caucasus. In Russian, Qırmızı Qəsəbə was once called Еврейская Слобода (translit. Yevreyskaya Sloboda), "Jewish Village"; but during Soviet times it was renamed Красная Слобода (translit. Krasnaya Sloboda), "Red Village."
Mountain Jews are distinct from Georgian Jews of the Caucasus Mountains. The two groups are culturally different, speaking different languages and having many differences in customs and culture. Mountain Jews are a part of the Mizrahi Jewish communities.
History
Early history
The Mountain Jews, or Jews of the Caucasus, have inhabited the Caucasus since the fifth century CE. Being the descendants of the Persian Jews of Iran, their migration from Persia proper to the Caucasus took place in the Sasanian era (224-651). It is believed that they had arrived in Persia, from Ancient Israel, as early as the 8th century BCE Other sources, attest that Mountain Jews were present in the region of Azerbaijan, at least since 457 BCE However, the Mountain Jews only took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire per the Treaty of Gulistan of 1813.
Mountain Jews have an oral tradition, passed down generation after generation, that they are descended from the Ten Lost Tribes which were exiled by the king of Assyria (Ashur), who ruled over northern Iraq from Mosul (across the Tigris River from the ancient city of Nineveh). The reference, most likely is to Shalmaneser, the King of Assyria who is mentioned in II Kings 18:9-12. According to local Jewish tradition, some 19,000 Jews departed Jerusalem (used here as a generic term for the Land of Israel) and passed through Syria, Babylonia, and Persia and then, heading north, entered into Media.
In Chechnya, Mountain Jews partially assimilated into Chechen society by forming a Jewish teip, the Zhugtii while three other teips, the Shuonoi, Ziloi and Chartoi have also been theorized to have Jewish relations. In Chechen society, ethnic minorities residing in areas demographically dominated by Chechens have the option of forming a teip in order to properly participate in the developments of Chechen society such as making alliances and gaining representation in the Mekhk Khell, a supreme ethnonational council that is occasionally compared to a parliament. Teips of minority-origin have also been made by ethnic Poles, Germans, Georgians, Armenians, Kumyks, Russians, Kalmyks, Circassians, Andis, Avars, Dargins, Laks, Persians, Arabs, Ukrainians and Nogais, with the German teip having been formed as recently as the 1940s when Germans in Siberian exile living among Chechens assimilated.
Mountain Jews maintained a strong military tradition. For this reason, some historians believe they may be descended from Jewish military colonists, settled by Parthian and Sassanid rulers in the Caucasus as frontier guards against nomadic incursions from the Pontic steppe.
A 2002 study by geneticist Dror Rosengarten found that the paternal haplotypes of Mountain Jews "were shared with other Jewish communities and were consistent with a Mediterranean origin." In addition, Y-DNA testing of Mountain Jews has shown they have Y-DNA haplotypes related to those of other Jewish communities. The Semitic origin of Mountain Jews is also evident in their culture and language.
"The Jewish Valley"
By the early 17th century, Mountain Jews formed many small settlements throughout mountain valleys of Dagestan. One valley, located 10 km south of Derbent, close to the shore of the Caspian Sea, was predominantly populated by Mountain Jews. Their Muslim neighbors called this area "Jewish Valley." The Jewish Valley grew to be a semi-independent Jewish state, with its spiritual and political center located in its largest settlement of Aba-Sava (1630-1800). The valley prospered until the end of the 18th century, when its settlements were brutally destroyed in the war between Sheikh-Ali-Khan, who swore loyalty to the Russian Empire, and Surkhai-Khan, the ruler of Kumukh. Many Mountain Jews were slaughtered, with survivors escaping to Derbent where they received the protection of Fatali Khan, the ruler of Quba Khanate.
In the 18th–19th centuries, the Jews resettled from the highland to the coastal lowlands but carried the name "Mountain Jews" with them. In the villages (aouls), the Mountain Jews had settled in separate sections. In the lowland towns they also lived in concentrated neighborhoods, but their dwellings did not differ from those of their neighbors. Mountain Jews retained the dress of the highlanders. They have continued to follow Jewish dietary laws and affirm their faith in family life. In 1902, The New York Times reported that clans of natives undoubtedly of Jewish origin, who maintain many of the customs and the principal forms of religious worship of their ancestors, were discovered in the remote regions of Eastern Caucasus.
Soviet times, Holocaust and modern history
By 1926, more than 85% of Mountain Jews in Dagestan were already classed as urban. Mountain Jews were mainly concentrated in the cities of Makhachkala, Buynaksk, Derbent, Nalchik and Grozny in North Caucasus; and Quba and Baku in Azerbaijan.
In the Second World War, some Mountain Jews settlements in North Caucasus, including parts of their area in Kabardino-Balkaria were occupied by the German Wehrmacht at the end of 1942. During this period, they killed several hundreds of Mountain Jews until the Germans retreated early 1943. On September 20, 1942, Germans killed 420 Mountain Jews near the village of Bogdanovka. Some 1000–1500 Mountain Jews were murdered during the Holocaust. Many Mountain Jews survived, however, because German troops did not reach all their areas; in addition, attempts succeeded to convince local German authorities that this group were "religious" but not "racial" Jews.
The Soviet Army's advances in the area brought the Nalchik community under its protection. The Mountain Jewish community of Nalchik was the largest Mountain Jewish community occupied by Nazis, and the vast majority of the population has survived. With the help of their Kabardian neighbors, Mountain Jews of Nalchik convinced the local German authorities that they were Tats, the native people similar to other Caucasus Mountain peoples, not related to the ethnic Jews, who merely adopted Judaism. The annihilation of the Mountain Jews was suspended, contingent on racial investigation. Although the Nazis watched the village carefully, Rabbi Nachamil ben Hizkiyahu hid Sefer Torahs by burying them in a fake burial ceremony. The city was liberated a few months later.
In 1944, the NKVD deported the entire Chechen populace that surrounded the Mountain Jews in Chechnya, and moved other ethnic groups into their homes; Mountain Jews mostly refused to take the homes of deported Chechens while there are some reports of deported Chechens entrusting their homes to Jews in order to keep them safe.
Given the marked changes in the 1990s following the dissolution of the Soviet Union and rise of nationalism in the region, many Mountain Jews permanently left their hometowns in the Caucasus and relocated to Moscow or abroad. During the First Chechen War, many Jews left due to the Russian invasion and indiscriminate bombardment of civilian population by the Russian military. Despite historically close relations between Jews and Chechens, many also suffered high rate of kidnappings and violence at the hands of armed ethnic Chechen gangs who ransomed their freedom to "Israel and the international Jewish community". Many Mountain Jews emigrated to Israel or the United States. Qırmızı Qəsəbə in Azerbaijan remains the biggest settlement of Mountain Jews in the world, with the current population over 3,000.
Economy
While elsewhere in the Russian Empire, Jews were prohibited from owning land (excluding the Jews of Siberia and Central Asia), at the end of the 19th and the beginning of the 20th century, the Mountain Jews owned land and were farmers and gardeners, growing mainly grain. Their oldest occupation was rice-growing, but they also raised silkworms and cultivated tobacco. The Jewish vineyards were especially notable. The Jews and their Christian Armenian neighbors were the main producers of wine, as Muslims were prohibited by their religion from producing or consuming alcohol. Judaism, in turn, limited some types of meat consumption. Unlike their neighbors, the Jews raised few domestic animals. At the same time, they were renowned tanners. Tanning was their third most important economic activity after farming and gardening. At the end of the 19th century, 6% of Jews were engaged in this trade. Handicrafts and commerce were mostly practiced by Jews in towns.
The Soviet authorities bound the Mountain Jews to collective farms, but allowed them to continue their traditional cultivation of grapes, tobacco, and vegetables; and making wine. In practical terms, the Jews are no longer isolated from other ethnic groups.
With increasing urbanization and sovietization in progress, by the 1930s, a layer of intelligentsia began to form. By the late 1960s, academic professionals, such as pharmacists, medical doctors, and engineers, were quite common among the community. Mountain Jews worked in more professional positions than did Georgian Jews, though less than the Soviet Ashkenazi community, who were based in larger cities of Russia. A sizable number of Mountain Jewish worked in the entertainment industry in Dagestan. The republic's dancing ensemble "Lezginka" was led by Tankho Israilov, a Mountain Jew, for twenty one years (1958–79).
Religion
Mountain Jews are not Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Central Europe) but rather of Persian Jewish origin, and they follow some Mizrachi customs. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.
Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders.
The religious survival of the community was not without difficulties. In the prosperous days of the Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gershon Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent.
Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qırmızı Qəsəbə Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 1940s. The closing of the synagogues in the 1930s was part of communist ideology, which resisted religion of any kind.
At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation.
Educational institutions, language, literature
Mountain Jews speak Judeo-Tat, also called Juhuri, a form of Persian; it belongs to the southwestern group of the Iranian division of the Indo-European languages. Judeo-Tat has Semitic (Hebrew/Aramaic/Arabic) elements on all linguistic levels. Among other Semitic elements, Judeo-Tat has the Hebrew sound "ayin" (ע), whereas no neighboring languages have it. Until the early Soviet period, the language was written with semi-cursive Hebrew alphabet. Later, Judeo-Tat books, newspapers, textbooks, and other materials were printed with a Latin alphabet and finally in Cyrillic, which is still most common today. The first Judeo-Tat-language newspaper, Zakhmetkesh (Working People), was published in 1928 and operated until the second half of the twentieth century.
Originally, only boys were educated through synagogue schools. Starting from the 1860s, many well-off families switched to home-schooling, hiring private tutors, who taught their sons not only Hebrew, but also Russian and Yiddish. In the early 20th century, with advance of sovietization, Judeo-Tat became the language of instruction at newly founded elementary schools attended by both Mountain Jewish boys and girls. This policy continued until the beginning of World War II, when schools switched to Russian as the central government emphasized acquisition of Russian as the official language of the Soviet Union.
The Mountain Jewish community has had notable figures in public health, education, culture, and art.
In the 21st century, the government is encouraging the cultural life of minorities. In Dagestan and Kabardino-Balkaria, Judeo-Tat and Hebrew courses have been introduced in traditionally Mountain Jewish schools. In Dagestan, there is support for the revival of the Judeo-Tat-language theater and the publication of newspapers in that language.
Culture
Military tradition
And we, the Tats
We, Samson warriors,
Bar Kochba's heirs...
we went into battles
and bitterly, heroically
struggled for our freedom
"The Song of the Mountain Jews"
Mountain Jews are known for their military tradition and have been historically viewed as fierce warriors. Some historians suggest that the group traces its beginnings to Persian-Jewish soldiers who were stationed in the Caucasus by the Sasanian kings in the fifth or sixth century to protect the area from the onslaughts of the Huns and other nomadic invaders from the east. Men were typically heavily armed and some slept without removing their weapons.
Dress
Over time the Mountain Jews adopted the dress of their Muslim neighbors. Men typically wore chokhas and covered their head with papakhas, many variations of which could symbolize the men's social status. Wealthier men's dress was adorned with many pieces of jewelry, including silver and gold-decorated weaponry, pins, chains, belts, or kisets (small purse used to hold tobacco or coins). Women's dress was typically of simpler design in dark tones, made from silk, brocade, velvet, satin and later wool. They decorated the fabric with beads, gold pins or buttons, and silver gold-plated belts. Outside the house, both single and married women covered their hair with headscarves.
Cuisine
Mountain Jewish cuisine absorbed typical dishes from various peoples of the Caucasus, Azerbaijani and Persian cuisine, adjusting some recipes to conform to the laws of kashrut. Typical Mountain Jewish dishes include chudu (a type of meat pie), shashlik, dolma, kurze or dushpare, yarpagi, khinkali, tara (herb stew with pieces of meat), nermov (chicken or other meat stew with wheat and beans), plov (pilaf), buglame (curry like stew of fish or chicken eaten with rice (osh)), etc. Jewish holidays-themed dishes include Eshkene, a Persian soup, prepared for Passover, and a variety of hoshalevo (honey-based treats made with sunflower seeds or walnuts) typically prepared for Purim.
Music
The music of Mountain Jews is mostly based in the standard liturgy, for prayer and the celebration of holidays. Celebratory music played during weddings and similar events is typically upbeat with various instruments to add layers to the sound.
Notable Mountain Jews
Omer Adam, Israeli singer
Udi Adam, Israeli general and the former head of the Israeli Northern Command
Yekutiel Adam (1927–1982), Israeli general and former Deputy Chief of Staff of the Israeli Defense Forces
Albert Agarunov (1969–1992), the National Hero of Azerbaijan, starshina of the Azerbaijani Army who died during the First Nagorno-Karabakh War
Yakov Agarunov (1907–1992), Soviet poet and playwright
Eduard Akuvaev (1945–2015), Soviet/Russian artist and teacher
Daniil Atnilov (1913–1968), Soviet poet
Manuvakh Dadashev (1913–1943), Soviet poet
Mishi Bakhshiev (1910–1972), Soviet writer and poet
Astrix, producer of Trance music
Hizgil Avshalumov (1913–2001), novelist, poet and playwright
Izi Davidov, major philanthropist during Soviet times, donated from his personal wealth to a multitude of people across the Caucasus, born in Krasnaya Sloboda (Gilgoti quarter)
Ilona Davidova, Russian-American entrepreneur, linguist, author, developer of novel high-speed technique for studying English
Mark Eliyahu, Israeli kamancheh player, born in Dagestan
Boris Gavrilov (1908–1990), Soviet writer and poet
Mikhail Gavrilov (1926–2014), Soviet writer and poet
Sarit Hadad, Israeli singer
Zarakh Iliev, Russian businessman, entrepreneur and real estate magnate
Gavril Abramovich Ilizarov (1921–1992), Soviet physician, known for inventing the Ilizarov apparatus for lengthening limb bones and for his eponymous surgery (Mountain Jewish father, Ashkenazi Jewish mother)
Telman Ismailov, businessman and entrepreneur, owner of AST group
Tankho Israelov (1917–1981), dancer, choreographer
Sergey Izgiyayev (1922–1972), author, translator, and songwriter
Mirza Khazar (1947–2020), Azerbaijani author, political analyst, anchorman, radio journalist, publisher, and translator
Tamara Musakhanov (1924–2014), Soviet sculptor and ceramist
Mushail Mushailov (1941–2007), Soviet/Russian artist and teacher
God Nisanov, Russian businessman, entrepreneur and real estate magnate
Iosif Prigozhin, Russian music producer, winner of the 1998 Ovation award in the category Producer of the Year
Lior Refaelov, Israeli football player
Zoya Semenduyeva (1929–2020), Soviet and Israeli poet
Robert Tiviaev, Israeli politician, current member of the Knesset
Israel Tsvaygenbaum, Russian-American artist (Ashkenazi Jewish father, Mountain Jewish mother)
Vladimir Yakubov, Soviet mathematician
Yaffa Yarkoni (1925–2012), Israeli singer, winner of the Israel Prize in 1998
Anatoly Yagudaev (1935–2014), sculptor. He held an honorary title of People's Artist of the Russian Federation
, Vice-President of the East-Asian Jewish Congress, Vice-President of the World Congress of Mountain Jews, President of the STMEGI International Charitable Foundation
Semen (Zalman) Ikhiilovich Divilov (1914–1988), economist, member of the board of the State Planning Committee of Azerbaijan 1952–1982
Zhasmin (née Sara Manakimovna), Russian pop-singer, winner of numerous music awards, including the Golden Gramophone Award (2000, 2001, 2003—2005, 2012—2015), Ovation (2000) and MTV Russia Music Awards (2005)
Gallery
See also
Mountain Jews in Israel
Israel-Azerbaijan relations
Qırmızı Qəsəbə, the primary settlement of Azerbaijan's population of Mountain Jews (3600).
Khazars
History of the Jews in Azerbaijan
World Congress of Mountain Jews
References
Further reading
External links
juhuro.com, website created by Vadim Alhasov in 2001. Daily updates reflect the life of Mountain Jewish (juhuro) community around the globe.
newfront.us, New Frontier is a monthly Mountain Jewish newspaper, founded in 2003. International circulation via its web site.
keshev-k.com, Israeli website of Mountain Jews
gorskie.ru, Mountain Jews, website in Russian language
"Judæo-Tat", Ethnologue
Jews
Jewish ethnic groups
Iranian Jews
Mizrahi Jews
Jews and Judaism in Persia and Iran
Jews
Mountain
Hill people
Ethnic groups in the Middle East | true | [
"Nitya karma refers to those karmas (or rituals) which have to be performed daily by Hindus. The Hindu Shastras say that not performing nitya karmas leads to sin. The nitya karmas include:\n\nSnana (bathing)\nSandhyavandanam\nDevataarchanam\nAupasanam\nAgnihotram\n\nNitya is a Sanskrit word meaning “eternal” or “permanent.” Its opposite is anitya, which refers to the Hindu concept of impermanence, in that suffering does not last, but neither do the material comforts of life. Hindu and yogic philosophy asserts that humans are trapped in a cycling of suffering, death and rebirth.\n\nNitya Karma does not necessarily mean daily duties. It includes any regular/periodic scheduled activities/duties. E.g.: Amavasya tharpanam, Grahana tharpanam, Pithru devasam.\n\nThere is a subdivision of Nithya karma which is called Nai-Nithya karma. This means compulsory karma but conditional. E.g. Grahana related karmas.\n\nSee also\nKaamya karma\nShrauta\n\nRituals in Hindu worship",
"Jain rituals play an everyday part in Jainism. Rituals take place daily or more often. Rituals include obligations followed by Jains and various forms of idol worship.\n\nJains rituals can be separated broadly in two parts: Karyn (obligations which are followed) and Kriya (worships which are performed).\n\nSix essential duties\nIn Jainism, six essential duties (avashyakas) are prescribed for śrāvakas (householders). The six duties are:\nWorship of Pañca-Parameṣṭhi (five supreme beings)\nFollowing the preachings of Jain saints.\nStudy of Jain scriptures\nSamayika: practising serenity and meditation\nFollowing discipline in their daily engagement\nCharity (dāna) of four kinds:\nAhara-dāna- donation of food\nAusadha-dāna- donation of medicine\nJnana-dāna- donation of knowledge\nAbhaya-dāna- saving the life of a living being or giving of protection to someone under threat\n\nThese duties became fundamental ritual activities of a Jain householder. Such as spreading the grain for the birds in the morning, and filtering or boiling the water for the next few hours' use became ritual acts of charity and non-violence. Samayika was used as a word for all spiritual activity including icon worship during medieval times.\n\nSamayika\n\nSamayika is the practice of equanimity, translating to meditation. It is a ritual act undertaken early in the morning and perhaps also at noon and night. It lasts for forty-eight minutes (Two Ghadis) and usually involves not only quiet recollection but also usually the repetition of routine prayers.\nThe ritual is chanting and also praying about the good things.\n\nPratikramana\n\nPratikramana is performed in the night for the repentance of violence committed during the night, and in the evening for the violence during the day and additionally on certain days of the year. During this, the Jain expresses remorse for the harm caused, or wrongdoing, or the duties left undone.\n\nAnnual and lifetime obligations\nThere are eleven annual obligations for a year and some obligations for once in a life which should be completed by Jain lay person individually or in a group. They are prescribed by Shravak Pragyapti.\n\n11 annual obligations\nThey are following:\n Deva dravya : Fundraising for temples\n Mahapuja : Elaborate ritual in which temples and icons decorated and sacred texts recited \n Ratri-jagarana : singing hymns and religious observance throughout night\n Sadharmik Bhakti: Deep respect to fellow follower of Jainism\n Sangha-puja: service to Sangha\n Shuddhi : confession of faults\n Snatra puja : a ritual related to Janma Kalyanaka\n Sutra-puja : veneration of scriptures\n Tirth prabhavana : promotion of Jainism. by celebrating important occasion\n Udyapana : displaying objects of worship and participant at end of religious activities\n Yatratnika or Yatratrik : Participation in religious festivals and pilgrimage to three sites\n\nObligations performed at least once in a lifetime\nThey are the following:\n Build a temple\n Celebrate renunciation of a family member\n Donate a Tirthankara icon to a temple\n Participate in Panch-kalyanak Pratishtha\n\nWorship\n\nDevapuja means worship of tirthankaras. It is usually done in front of images of any liberated soul (Siddha) such as Tirthankara, or Arihant. In Jainism, the Tirthankaras represent the true goal of all human beings. Their qualities are worshipped by the Jains.\n\nSthanakavasi oppose idol worship. They believe in meditation and silent prayers. Jain idols are seen as a personification of ideal state which one should attain.\n\nDuring medieval period, worship of some Yaksha and Yakshini, heavenly beings who are not liberated souls, started. They are believed to help a person by removing obstacles in life.\n\nElaborate forms of ritual usually done in the temple. Jains wear clean three clothes for many rituals and enter temple with words related to respect for Tirthankara. He bows down to Tirthankara at main shrine and will circumambulate him three times.\n\nJain form of worship is also called Jain Puja. The worship is done in two ways:\n Dravya puja (worship with materials)\n Bhava puja (Psychic worship, no need of materials)\n\nJains worship the God, the scripture and the saint.\n\nDravya Puja\nDravya puja (worship with articles) includes Ashtaprakari Puja(means eight worships) which is done by paying homage with eight articles in prescribed way. It is also called archana: The following articles are used, in the Jaina Puja:\n\nThe combination of all the eight articles is called arghya. Of these, rice and coconut bits and almonds are to be washed and then all the articles are to be placed in a plate side by side, excepting water which is to be kept in a small pot separately. There should be provided a bowl for the pouring of water, another for the burning of incense, and a receptacle for lighting camphor.\n\nAfter that some Jains also use Chamara (Whisk), Darpana (Mirror) and a Pankho (Hand fan) also for worship.\n\nBhava Puja\n\nBhava puja(means Psychic worship) is done by ritual called Chaitya Vandana. It includes number of prayers and rituals done in prescribed manner and positions.\n\nAarti and Mangal Deevo\nAarti and Mangal Deevo is a lamp ritual waving it in rotational manner in front of icons same as Hindu traditions. Lamps represent knowledge. It is performed everynight at all Jain temples.\n\nOther forms\nMany other forms of worships are mainly performed on special occasions.\nSome forms of worships have close relationship with these five auspicious life events of Tirthankara called Panch Kalyanaka.\n Anjana Shalaka: It is a ceremony to install new Tirthankara icon. An Acharya recite mantras related to Panch Kalyanaka followed by applying special paste to eyes of Tirthankara icon. After this an icon becomes object of worship.\n Panch Kalyanak Pratishtha Mahotsava: When a new Jain Temple is erected, these Five Auspicious Life Events are celebrated known as Panch Kalyanak Pratishtha Mahotsava. After these an icons of Tirthankara gets a status of real Tirthankara which can be worshipped by Jains.\n Panch Kalyanak Puja:This ritual solemnizes all five Kalyanaka. It was narrated by Pandit Virvijay.\n Snatra Puja: Snatra Puja is a ritual related to birth of Tirthankara are bathed symbolising Indra doing Abhisheka on Tirthankara on Mount Meru after birth of Tirthankara. It performed before many other rituals and before starting of new enterprises, birthdays.\n\nOthers are:\n Adhara Abhisheka(18 Abhisheka: It is temple purification ceremony. 18 urns of different pure water, herbs etc. used to clean all icons for purification. It is performed periodically.\n Antaraya Karma Puja: It comprises a series of prayers to remove those karmas which obstruct the spiritual uplifting power of the soul.\n Arihanta Mahapujan: paying respect to the arihants.\n Aththai Mahotsava: It is religious celebration in which various religious activities are performed including some pujans for eight days.\n Shanti Snatra Puja: It is performed in intention of universal peace. It is related to Tirthankara Shantinath.\n Siddha-chakra Puja:It is a ritual focused on the Siddha-chakra, a lotus-shaped disc bearing representations of the arhat, the liberated soul, religious teacher, religious leader and the monk (the five praiseworthy beings), as well as the four qualities namely perception, knowledge, conduct and austerity to uplift the soul.\n\nObservances\nBoth the Digambara and Svetambara celebrates eight-day observance (ashtahnika) thrice every year. It takes place every four months, from the eighth of bright half of the months of Ashadha (June-July), Karttika (October-November), and Phalguna (February-March) through the full moon and is in direct imitation of the eight day celebrations of Nandishvara Dvipa by the god.\n\nSee also\n God in Jainism\n Kshamavani\n Jain cosmology\n History of Jainism\n Jainism\n\nReferences\n\nCitations\n\nSources\n\nExternal links\n\nReligious rituals\nRituals"
]
|
[
"Mountain Jews",
"Religion",
"What Religion do Mountain Jews follow",
"Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.",
"Do they have any specific rituals related to this worship?",
"While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully."
]
| C_65871370da554ea89ac79105bcc5beaf_1 | Which precepts were not as strictly followed? | 3 | Which precepts were not as strictly followed by Mountain Jews? | Mountain Jews | Mountain Jews are considered, by some, to be of Sephardic lineage; this however is a misnomer as they are neither Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Germany and Eastern-Europe) but rather come directly by way of Persia. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders. The religious survival of the community was not without difficulties. In the prosperous days of Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gerhson Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent. Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qirmizi Q@s@b@ Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 40's. The closing of the synagogues in the 30's was part of communist ideology, which resisted religion of any kind. At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation. CANNOTANSWER | CANNOTANSWER | Mountain Jews or Caucasus Jews also known as Juhuro, Juvuro, Juhuri, Juwuri, Juhurim, Kavkazi Jews or Gorsky Jews ( Yehudey Kavkaz or Yehudey he-Harim; , ) are Jews of the eastern and northern Caucasus, mainly Azerbaijan, and various republics in the Russian Federation: Chechnya, Ingushetia, Dagestan, Karachay-Cherkessia, and Kabardino-Balkaria.
Mountain Jews are the descendants of Persian Jews from Iran. The Mountain Jews took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire as part of the Treaty of Gulistan of 1813.
The Mountain Jews community became established in Ancient Persia, from the 5th century BCE onwards; their language, called Judeo-Tat, is an ancient Southwest Iranian language which integrates many elements of Ancient Hebrew.
It is believed that they had reached Persia from Ancient Israel as early as the 8th century BCE. They continued to migrate east, settling in mountainous areas of the Caucasus. The Mountain Jews survived numerous historical vicissitudes by settling in extremely remote and mountainous areas. They were known to be accomplished warriors and horseback riders.
The main Mountain Jewish settlement in Azerbaijan is Qırmızı Qəsəbə, also called Jerusalem of the Caucasus. In Russian, Qırmızı Qəsəbə was once called Еврейская Слобода (translit. Yevreyskaya Sloboda), "Jewish Village"; but during Soviet times it was renamed Красная Слобода (translit. Krasnaya Sloboda), "Red Village."
Mountain Jews are distinct from Georgian Jews of the Caucasus Mountains. The two groups are culturally different, speaking different languages and having many differences in customs and culture. Mountain Jews are a part of the Mizrahi Jewish communities.
History
Early history
The Mountain Jews, or Jews of the Caucasus, have inhabited the Caucasus since the fifth century CE. Being the descendants of the Persian Jews of Iran, their migration from Persia proper to the Caucasus took place in the Sasanian era (224-651). It is believed that they had arrived in Persia, from Ancient Israel, as early as the 8th century BCE Other sources, attest that Mountain Jews were present in the region of Azerbaijan, at least since 457 BCE However, the Mountain Jews only took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire per the Treaty of Gulistan of 1813.
Mountain Jews have an oral tradition, passed down generation after generation, that they are descended from the Ten Lost Tribes which were exiled by the king of Assyria (Ashur), who ruled over northern Iraq from Mosul (across the Tigris River from the ancient city of Nineveh). The reference, most likely is to Shalmaneser, the King of Assyria who is mentioned in II Kings 18:9-12. According to local Jewish tradition, some 19,000 Jews departed Jerusalem (used here as a generic term for the Land of Israel) and passed through Syria, Babylonia, and Persia and then, heading north, entered into Media.
In Chechnya, Mountain Jews partially assimilated into Chechen society by forming a Jewish teip, the Zhugtii while three other teips, the Shuonoi, Ziloi and Chartoi have also been theorized to have Jewish relations. In Chechen society, ethnic minorities residing in areas demographically dominated by Chechens have the option of forming a teip in order to properly participate in the developments of Chechen society such as making alliances and gaining representation in the Mekhk Khell, a supreme ethnonational council that is occasionally compared to a parliament. Teips of minority-origin have also been made by ethnic Poles, Germans, Georgians, Armenians, Kumyks, Russians, Kalmyks, Circassians, Andis, Avars, Dargins, Laks, Persians, Arabs, Ukrainians and Nogais, with the German teip having been formed as recently as the 1940s when Germans in Siberian exile living among Chechens assimilated.
Mountain Jews maintained a strong military tradition. For this reason, some historians believe they may be descended from Jewish military colonists, settled by Parthian and Sassanid rulers in the Caucasus as frontier guards against nomadic incursions from the Pontic steppe.
A 2002 study by geneticist Dror Rosengarten found that the paternal haplotypes of Mountain Jews "were shared with other Jewish communities and were consistent with a Mediterranean origin." In addition, Y-DNA testing of Mountain Jews has shown they have Y-DNA haplotypes related to those of other Jewish communities. The Semitic origin of Mountain Jews is also evident in their culture and language.
"The Jewish Valley"
By the early 17th century, Mountain Jews formed many small settlements throughout mountain valleys of Dagestan. One valley, located 10 km south of Derbent, close to the shore of the Caspian Sea, was predominantly populated by Mountain Jews. Their Muslim neighbors called this area "Jewish Valley." The Jewish Valley grew to be a semi-independent Jewish state, with its spiritual and political center located in its largest settlement of Aba-Sava (1630-1800). The valley prospered until the end of the 18th century, when its settlements were brutally destroyed in the war between Sheikh-Ali-Khan, who swore loyalty to the Russian Empire, and Surkhai-Khan, the ruler of Kumukh. Many Mountain Jews were slaughtered, with survivors escaping to Derbent where they received the protection of Fatali Khan, the ruler of Quba Khanate.
In the 18th–19th centuries, the Jews resettled from the highland to the coastal lowlands but carried the name "Mountain Jews" with them. In the villages (aouls), the Mountain Jews had settled in separate sections. In the lowland towns they also lived in concentrated neighborhoods, but their dwellings did not differ from those of their neighbors. Mountain Jews retained the dress of the highlanders. They have continued to follow Jewish dietary laws and affirm their faith in family life. In 1902, The New York Times reported that clans of natives undoubtedly of Jewish origin, who maintain many of the customs and the principal forms of religious worship of their ancestors, were discovered in the remote regions of Eastern Caucasus.
Soviet times, Holocaust and modern history
By 1926, more than 85% of Mountain Jews in Dagestan were already classed as urban. Mountain Jews were mainly concentrated in the cities of Makhachkala, Buynaksk, Derbent, Nalchik and Grozny in North Caucasus; and Quba and Baku in Azerbaijan.
In the Second World War, some Mountain Jews settlements in North Caucasus, including parts of their area in Kabardino-Balkaria were occupied by the German Wehrmacht at the end of 1942. During this period, they killed several hundreds of Mountain Jews until the Germans retreated early 1943. On September 20, 1942, Germans killed 420 Mountain Jews near the village of Bogdanovka. Some 1000–1500 Mountain Jews were murdered during the Holocaust. Many Mountain Jews survived, however, because German troops did not reach all their areas; in addition, attempts succeeded to convince local German authorities that this group were "religious" but not "racial" Jews.
The Soviet Army's advances in the area brought the Nalchik community under its protection. The Mountain Jewish community of Nalchik was the largest Mountain Jewish community occupied by Nazis, and the vast majority of the population has survived. With the help of their Kabardian neighbors, Mountain Jews of Nalchik convinced the local German authorities that they were Tats, the native people similar to other Caucasus Mountain peoples, not related to the ethnic Jews, who merely adopted Judaism. The annihilation of the Mountain Jews was suspended, contingent on racial investigation. Although the Nazis watched the village carefully, Rabbi Nachamil ben Hizkiyahu hid Sefer Torahs by burying them in a fake burial ceremony. The city was liberated a few months later.
In 1944, the NKVD deported the entire Chechen populace that surrounded the Mountain Jews in Chechnya, and moved other ethnic groups into their homes; Mountain Jews mostly refused to take the homes of deported Chechens while there are some reports of deported Chechens entrusting their homes to Jews in order to keep them safe.
Given the marked changes in the 1990s following the dissolution of the Soviet Union and rise of nationalism in the region, many Mountain Jews permanently left their hometowns in the Caucasus and relocated to Moscow or abroad. During the First Chechen War, many Jews left due to the Russian invasion and indiscriminate bombardment of civilian population by the Russian military. Despite historically close relations between Jews and Chechens, many also suffered high rate of kidnappings and violence at the hands of armed ethnic Chechen gangs who ransomed their freedom to "Israel and the international Jewish community". Many Mountain Jews emigrated to Israel or the United States. Qırmızı Qəsəbə in Azerbaijan remains the biggest settlement of Mountain Jews in the world, with the current population over 3,000.
Economy
While elsewhere in the Russian Empire, Jews were prohibited from owning land (excluding the Jews of Siberia and Central Asia), at the end of the 19th and the beginning of the 20th century, the Mountain Jews owned land and were farmers and gardeners, growing mainly grain. Their oldest occupation was rice-growing, but they also raised silkworms and cultivated tobacco. The Jewish vineyards were especially notable. The Jews and their Christian Armenian neighbors were the main producers of wine, as Muslims were prohibited by their religion from producing or consuming alcohol. Judaism, in turn, limited some types of meat consumption. Unlike their neighbors, the Jews raised few domestic animals. At the same time, they were renowned tanners. Tanning was their third most important economic activity after farming and gardening. At the end of the 19th century, 6% of Jews were engaged in this trade. Handicrafts and commerce were mostly practiced by Jews in towns.
The Soviet authorities bound the Mountain Jews to collective farms, but allowed them to continue their traditional cultivation of grapes, tobacco, and vegetables; and making wine. In practical terms, the Jews are no longer isolated from other ethnic groups.
With increasing urbanization and sovietization in progress, by the 1930s, a layer of intelligentsia began to form. By the late 1960s, academic professionals, such as pharmacists, medical doctors, and engineers, were quite common among the community. Mountain Jews worked in more professional positions than did Georgian Jews, though less than the Soviet Ashkenazi community, who were based in larger cities of Russia. A sizable number of Mountain Jewish worked in the entertainment industry in Dagestan. The republic's dancing ensemble "Lezginka" was led by Tankho Israilov, a Mountain Jew, for twenty one years (1958–79).
Religion
Mountain Jews are not Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Central Europe) but rather of Persian Jewish origin, and they follow some Mizrachi customs. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.
Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders.
The religious survival of the community was not without difficulties. In the prosperous days of the Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gershon Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent.
Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qırmızı Qəsəbə Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 1940s. The closing of the synagogues in the 1930s was part of communist ideology, which resisted religion of any kind.
At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation.
Educational institutions, language, literature
Mountain Jews speak Judeo-Tat, also called Juhuri, a form of Persian; it belongs to the southwestern group of the Iranian division of the Indo-European languages. Judeo-Tat has Semitic (Hebrew/Aramaic/Arabic) elements on all linguistic levels. Among other Semitic elements, Judeo-Tat has the Hebrew sound "ayin" (ע), whereas no neighboring languages have it. Until the early Soviet period, the language was written with semi-cursive Hebrew alphabet. Later, Judeo-Tat books, newspapers, textbooks, and other materials were printed with a Latin alphabet and finally in Cyrillic, which is still most common today. The first Judeo-Tat-language newspaper, Zakhmetkesh (Working People), was published in 1928 and operated until the second half of the twentieth century.
Originally, only boys were educated through synagogue schools. Starting from the 1860s, many well-off families switched to home-schooling, hiring private tutors, who taught their sons not only Hebrew, but also Russian and Yiddish. In the early 20th century, with advance of sovietization, Judeo-Tat became the language of instruction at newly founded elementary schools attended by both Mountain Jewish boys and girls. This policy continued until the beginning of World War II, when schools switched to Russian as the central government emphasized acquisition of Russian as the official language of the Soviet Union.
The Mountain Jewish community has had notable figures in public health, education, culture, and art.
In the 21st century, the government is encouraging the cultural life of minorities. In Dagestan and Kabardino-Balkaria, Judeo-Tat and Hebrew courses have been introduced in traditionally Mountain Jewish schools. In Dagestan, there is support for the revival of the Judeo-Tat-language theater and the publication of newspapers in that language.
Culture
Military tradition
And we, the Tats
We, Samson warriors,
Bar Kochba's heirs...
we went into battles
and bitterly, heroically
struggled for our freedom
"The Song of the Mountain Jews"
Mountain Jews are known for their military tradition and have been historically viewed as fierce warriors. Some historians suggest that the group traces its beginnings to Persian-Jewish soldiers who were stationed in the Caucasus by the Sasanian kings in the fifth or sixth century to protect the area from the onslaughts of the Huns and other nomadic invaders from the east. Men were typically heavily armed and some slept without removing their weapons.
Dress
Over time the Mountain Jews adopted the dress of their Muslim neighbors. Men typically wore chokhas and covered their head with papakhas, many variations of which could symbolize the men's social status. Wealthier men's dress was adorned with many pieces of jewelry, including silver and gold-decorated weaponry, pins, chains, belts, or kisets (small purse used to hold tobacco or coins). Women's dress was typically of simpler design in dark tones, made from silk, brocade, velvet, satin and later wool. They decorated the fabric with beads, gold pins or buttons, and silver gold-plated belts. Outside the house, both single and married women covered their hair with headscarves.
Cuisine
Mountain Jewish cuisine absorbed typical dishes from various peoples of the Caucasus, Azerbaijani and Persian cuisine, adjusting some recipes to conform to the laws of kashrut. Typical Mountain Jewish dishes include chudu (a type of meat pie), shashlik, dolma, kurze or dushpare, yarpagi, khinkali, tara (herb stew with pieces of meat), nermov (chicken or other meat stew with wheat and beans), plov (pilaf), buglame (curry like stew of fish or chicken eaten with rice (osh)), etc. Jewish holidays-themed dishes include Eshkene, a Persian soup, prepared for Passover, and a variety of hoshalevo (honey-based treats made with sunflower seeds or walnuts) typically prepared for Purim.
Music
The music of Mountain Jews is mostly based in the standard liturgy, for prayer and the celebration of holidays. Celebratory music played during weddings and similar events is typically upbeat with various instruments to add layers to the sound.
Notable Mountain Jews
Omer Adam, Israeli singer
Udi Adam, Israeli general and the former head of the Israeli Northern Command
Yekutiel Adam (1927–1982), Israeli general and former Deputy Chief of Staff of the Israeli Defense Forces
Albert Agarunov (1969–1992), the National Hero of Azerbaijan, starshina of the Azerbaijani Army who died during the First Nagorno-Karabakh War
Yakov Agarunov (1907–1992), Soviet poet and playwright
Eduard Akuvaev (1945–2015), Soviet/Russian artist and teacher
Daniil Atnilov (1913–1968), Soviet poet
Manuvakh Dadashev (1913–1943), Soviet poet
Mishi Bakhshiev (1910–1972), Soviet writer and poet
Astrix, producer of Trance music
Hizgil Avshalumov (1913–2001), novelist, poet and playwright
Izi Davidov, major philanthropist during Soviet times, donated from his personal wealth to a multitude of people across the Caucasus, born in Krasnaya Sloboda (Gilgoti quarter)
Ilona Davidova, Russian-American entrepreneur, linguist, author, developer of novel high-speed technique for studying English
Mark Eliyahu, Israeli kamancheh player, born in Dagestan
Boris Gavrilov (1908–1990), Soviet writer and poet
Mikhail Gavrilov (1926–2014), Soviet writer and poet
Sarit Hadad, Israeli singer
Zarakh Iliev, Russian businessman, entrepreneur and real estate magnate
Gavril Abramovich Ilizarov (1921–1992), Soviet physician, known for inventing the Ilizarov apparatus for lengthening limb bones and for his eponymous surgery (Mountain Jewish father, Ashkenazi Jewish mother)
Telman Ismailov, businessman and entrepreneur, owner of AST group
Tankho Israelov (1917–1981), dancer, choreographer
Sergey Izgiyayev (1922–1972), author, translator, and songwriter
Mirza Khazar (1947–2020), Azerbaijani author, political analyst, anchorman, radio journalist, publisher, and translator
Tamara Musakhanov (1924–2014), Soviet sculptor and ceramist
Mushail Mushailov (1941–2007), Soviet/Russian artist and teacher
God Nisanov, Russian businessman, entrepreneur and real estate magnate
Iosif Prigozhin, Russian music producer, winner of the 1998 Ovation award in the category Producer of the Year
Lior Refaelov, Israeli football player
Zoya Semenduyeva (1929–2020), Soviet and Israeli poet
Robert Tiviaev, Israeli politician, current member of the Knesset
Israel Tsvaygenbaum, Russian-American artist (Ashkenazi Jewish father, Mountain Jewish mother)
Vladimir Yakubov, Soviet mathematician
Yaffa Yarkoni (1925–2012), Israeli singer, winner of the Israel Prize in 1998
Anatoly Yagudaev (1935–2014), sculptor. He held an honorary title of People's Artist of the Russian Federation
, Vice-President of the East-Asian Jewish Congress, Vice-President of the World Congress of Mountain Jews, President of the STMEGI International Charitable Foundation
Semen (Zalman) Ikhiilovich Divilov (1914–1988), economist, member of the board of the State Planning Committee of Azerbaijan 1952–1982
Zhasmin (née Sara Manakimovna), Russian pop-singer, winner of numerous music awards, including the Golden Gramophone Award (2000, 2001, 2003—2005, 2012—2015), Ovation (2000) and MTV Russia Music Awards (2005)
Gallery
See also
Mountain Jews in Israel
Israel-Azerbaijan relations
Qırmızı Qəsəbə, the primary settlement of Azerbaijan's population of Mountain Jews (3600).
Khazars
History of the Jews in Azerbaijan
World Congress of Mountain Jews
References
Further reading
External links
juhuro.com, website created by Vadim Alhasov in 2001. Daily updates reflect the life of Mountain Jewish (juhuro) community around the globe.
newfront.us, New Frontier is a monthly Mountain Jewish newspaper, founded in 2003. International circulation via its web site.
keshev-k.com, Israeli website of Mountain Jews
gorskie.ru, Mountain Jews, website in Russian language
"Judæo-Tat", Ethnologue
Jews
Jewish ethnic groups
Iranian Jews
Mizrahi Jews
Jews and Judaism in Persia and Iran
Jews
Mountain
Hill people
Ethnic groups in the Middle East | false | [
"In Buddhism, the eight precepts (, ) is a list of precepts that are observed by lay devotees on observance days and festivals. They include general precepts such as refraining from killing, but also more specific ones, such as abstaining from cosmetics. Based on pre-Buddhist sāmaṇa practices, the eight precepts are often upheld on the Buddhist observance days (, ), and in such context called the uposatha vows or one-day precepts. They are considered to support meditation practice, and are often observed when staying in monasteries and temples. In some periods and places the precepts were widely observed, such as in 7th–10th-century China by government officials. In modern times, there have been revival movements and important political figures that have observed them continuously.\n\nDescription \n\nThe first five of the eight precepts are similar to the five precepts, that is, to refrain from killing living beings, stealing, damaging speech, and to abstain from intoxicating drink or drugs, but the third precept is abstinence of all sexual activity instead of refraining from sexual offenses. The final three precepts are to abstain from eating at the wrong time (after midday); to abstain from entertainment such as dancing, singing, music, watching shows, as well as to abstain from wearing garlands, perfumes, cosmetics, and personal adornments; and to abstain from luxurious seats and beds.\n\nTo summarise, following anthropologist Barend Jan Terwiel's translation from the Pāli language used in Thai ceremonies:\n\nIn Thailand, when the eight precepts are taken, it is believed that if one of them is broken, they are all broken. In the Pāli tradition, the precepts are described in the Dhammika Sutta, part of the Sutta-Nipāta. In many medieval Chinese texts, the order of the last three items is different, with numbers 6 and 8 switched.\n\nPurpose \n\nIn the context of uposatha practice, observing the eight precepts is described by the Buddha in the early texts as \"cleansing of the sullied mind through expedient means\" (). The Pāli texts describe that one undertakes the eight precepts on the observance days following the example of the enlightened disciples of the Buddha. In the early texts, the Buddha is described as drawing a distinction between the Buddhist and Jain ways of upholding the uposatha. The Jain way is criticized as being more focused on outward appearance than substance, and the Buddhist practice is dubbed as genuine moral discipline. The eight precepts are meant to give lay people an impression of what it means to live as a monastic, and the precepts \"may function as the thin end of a wedge for attracting some to monastic life\". People who are observing the eight precepts are sometimes also addressed differently. The objective of the eight precepts is different from the five in that they are less moral in nature, but more focused on developing meditative concentration, and preventing distractions. Indeed, in Sri Lanka, lay devotees observing the eight precepts are expected to spend much time and effort on meditation, focusing especially on meditation on the parts of the body. This is intended to develop detachment.\n\nPractice \n\nOn regular observance days, Buddhist lay devotees often observe the eight precepts. In that context, the eight precepts are also called the uposatha vows (Sanskrit and ; , ). When laypeople stay in a Buddhist monastery or go on a meditation retreat, they also observe the eight precepts often; they are also upheld during yearly festivals such as Vesak. Presently, the uposatha vows are mostly associated with Theravāda Buddhism in South and Southeast Asia, but it was a widespread practice in China as well, and is still practiced. In practice, in Theravāda traditions, the precepts are mostly observed by faithful devotees above 40 years of age. Since the eight precepts are often observed for one day, they are also known as the one-day precepts. Sometimes a formula is recited confirming the observance for one day (and one night):\n\nObservance does not need to be temporary, however: some lay devotees choose to undertake the eight precepts continuously to improve themselves in morality. The eight precepts are also undertaken by people preparing for ordination as a monk, sometimes called anagarika in Pāli or pha khao in Thai. Furthermore, many nuns in Buddhist countries, such as the mae chi in Thailand or the dasa sil mata in Sri Lanka, observe the eight or ten precepts all the time as part of their way of life.\n\nAmong the eight precepts, the first precept is about not killing animals. As recorded in the Edicts of Aśoka, there was a custom that he had established not to kill animals on the uposatha days, which indicates that by this time observance of Buddhist uposatha had become a state institution in India. The custom was most strictly observed on the full moon and the day following. The third precept is about maintaining chastity. Buddhist tradition therefore requires lay people to be chaste on observance days, which is similar to the historical Indian tradition of being chaste on parvan days. As for the sixth rule, this means not having food after midday, with an allowance for fluids, in imitation of a nearly identical rule for monks, . Physician Ming-Jun Hung and his co-authors have analyzed early and medieval Chinese Buddhist Texts and argue that the main purposes of the half-day fast is to lessen desire, improve fitness and strength, and decrease sleepiness. Historically, Chinese Buddhists have interpreted the eight precepts as including vegetarianism.\n\nThe seventh precept is sometimes also interpreted to mean not wearing colorful clothes, which has led to a tradition for people to wear plain white when observing the eight precepts. This does not necessarily mean, however, that a Buddhist devotee dressed in white is observing the eight precepts all the time. As for the eighth precept, not sitting or sleeping on luxurious seats or beds, this usually comes down to sleeping on a mat on the floor. Though not specified in the precepts themselves, in Thailand and China, people observing the precepts usually stay in the temple overnight. This is to prevent temptations at home to break the eight precepts, and helps foster the community effort in upholding the precepts.\n\nHistory \nAccording to ethicist Damien Keown, the eight precepts were derived from the regulations described in the Brahmajala Sutta, an Early Buddhist Text. Since in this discourse the Buddha describes his own behavior, Keown argues that the eight precepts and several other moral doctrines in Buddhism are derived from the Buddha as a model figure.\n\nReligion scholar J.H. Bateson and Pāli scholar Shundō Tachibana have argued that the eight precepts may be partly based on pre-Buddhist brahmanical practices (vrata) during the fast on the full and new moon, but more recent scholarship has suggested that early Buddhist and Jain uposatha practices did not originate in Brahmanism. The brahmin poṣadha was held in preparation for a sacrifice, whereas the Buddhist and Jain practices were not. Also, according to some scholars, Brahmanism did not migrate to the early Buddhist region till some time after the advent of Buddhism. Instead, Asian religion scholar Benjamin Schonthal and religion scholar Christian Haskett suggest that the Buddhist and Jain practice originate from a common, informal sāmaṇa culture, sāmaṇa (Pāli; ) referring to the non-Vedic religious movement current at the time of early Buddhism and Jainism. They base their argument on textual evidence that Jain and other samana also upheld uposatha practices. Finally, an earlier, less well-known theory by Indologist Jean Przyluski proposes a Babylonian origin. Przyluski argued that the lunar calendar followed in Buddhist uposatha practice was more likely to be based on Neo-Babylonian influence than Vedic, based on the distribution of observance days.\n\nEarly Buddhist texts relate that the Buddhist uposatha originated as a response to other contemporary mendicant sects. Specifically, in the Pāli texts of monastic discipline, King Bimbisāra requests the Buddha to establish an uposatha practice, to keep up with competing sects. The Buddha then has the monks assemble every fortnight, and later he also has the monks teach lay people and recite the monastic code of discipline on the same days. Many of these practices were consciously borrowed from other sāmaṇa sects, as the uposatha ceremony became part of a wide program by the Buddha to make the spiritual practice of his followers \"unique, disciplined and sincere\".\n\nIn 6th-century Korea, the eight precepts came to be associated with worship of Maitreya, due to the work of Hyeryang, a Korean monk that wrote a tract about these matters. In 7th–10th-century China, government officials would often observe the eight precepts for one or more months a year, during which they often invited monks to teach them at home. On the same months that were designated for such religious observance, called the chai, the government also refrained from executing death penalties.\n\nModern history \n\nIn the late 19th century in Sri Lanka, there was a renewed interest in the tradition of observing the eight precepts, during the time of the Buddhist revival. This was mostly because of the influence of Anagarika Dharmapāla (1864–1933), who observed the ten precepts (similar to the eight) continuously, maintaining a status between lay person and monk. The interest was further fostered by campaigns emphasizing Buddhist religious practice on traditional observance days. The politician Chamlong Srimuang (b. 1935) has been known for observing the eight precepts continuously, even during his life as a politician. He has been a member of the Buddhist Santi Asoke movement, which interprets the eight precepts as eating one vegetarian meal a day. Srimuang's strict life following the precepts has led his friends to call him \"half monk–half man\". Just like the Santi Asoke, the Thai Dhammakaya Temple emphasizes eight precepts, especially in their training programs. In Sri Lanka, in the 2000s, the eight precepts were still observed with great strictness, as was noticed by Religion scholar Jonathan Walters in his field research. In Theravāda traditions in the West, the eight precepts are observed as well.\n\nSee also \n Tịnh Xá Trung Tâm\n Four Noble Truths (Buddhism)\n Five Precepts (Taoism)\n The Ten Commandments (Christianity)\n\nCitations\n\nReferences\n\nExternal links \n The 8 precepts, by the Dhammadāna.org website, archived from the original on 29 November 2018\n The Eight Precepts, by the Sri Lankan Mahamevnawa Monastery, archived from the original on 4 December 2018\n Ceremony for taking upon oneself the eight precepts, by Dhammatalks.org, archived from the original on 4 December 2018\n\nCodes of conduct\nBuddhist ethics\n\nBuddhist oaths",
"The Five precepts (; ) or five rules of training (; ) is the most important system of morality for Buddhist lay people. They constitute the basic code of ethics to be respected by lay followers of Buddhism. The precepts are commitments to abstain from killing living beings, stealing, sexual misconduct, lying and intoxication. Within the Buddhist doctrine, they are meant to develop mind and character to make progress on the path to enlightenment. They are sometimes referred to as the Śrāvakayāna precepts in the Mahāyāna tradition, contrasting them with the bodhisattva precepts. The five precepts form the basis of several parts of Buddhist doctrine, both lay and monastic. With regard to their fundamental role in Buddhist ethics, they have been compared with the ten commandments in Abrahamic religions or the ethical codes of Confucianism. The precepts have been connected with utilitarianist, deontological and virtue approaches to ethics, though by 2017, such categorization by western terminology had mostly been abandoned by scholars. The precepts have been compared with human rights because of their universal nature, and some scholars argue they can complement the concept of human rights.\n\nThe five precepts were common to the religious milieu of 6th-century BCE India, but the Buddha's focus on awareness through the fifth precept was unique. As shown in Early Buddhist Texts, the precepts grew to be more important, and finally became a condition for membership of the Buddhist religion. When Buddhism spread to different places and people, the role of the precepts began to vary. In countries where Buddhism had to compete with other religions, such as China, the ritual of undertaking the five precepts developed into an initiation ceremony to become a Buddhist layperson. On the other hand, in countries with little competition from other religions, such as Thailand, the ceremony has had little relation to the rite of becoming Buddhist, as many people are presumed Buddhist from birth.\n\nUndertaking and upholding the five precepts is based on the principle of non-harming (Pāli and ). The Pali Canon recommends one to compare oneself with others, and on the basis of that, not to hurt others. Compassion and a belief in karmic retribution form the foundation of the precepts. Undertaking the five precepts is part of regular lay devotional practice, both at home and at the local temple. However, the extent to which people keep them differs per region and time. People keep them with an intention to develop themselves, but also out of fear of a bad rebirth.\n\n The first precept consists of a prohibition of killing, both humans and all animals. Scholars have interpreted Buddhist texts about the precepts as an opposition to and prohibition of capital punishment, suicide, abortion and euthanasia. In practice, however, many Buddhist countries still use the death penalty. With regard to abortion, Buddhist countries take the middle ground, by condemning though not prohibiting it fully. The Buddhist attitude to violence is generally interpreted as opposing all warfare, but some scholars have raised exceptions found in later texts.\n The second precept prohibits theft and related activities such as fraud and forgery.\n The third precept refers to adultery in all its forms, and has been defined by modern teachers with terms such as sexual responsibility and long-term commitment.\n The fourth precept involves falsehood spoken or committed to by action, as well as malicious speech, harsh speech and gossip.\n The fifth precept prohibits intoxication through alcohol, drugs, or other means. Early Buddhist Texts nearly always condemn alcohol, and so do Chinese Buddhist post-canonical texts. Smoking is sometimes also included here.\n\nIn modern times, traditional Buddhist countries have seen revival movements to promote the five precepts. As for the West, the precepts play a major role in Buddhist organizations. They have also been integrated into mindfulness training programs, though many mindfulness specialists do not support this because of the precepts' religious import. Lastly, many conflict prevention programs make use of the precepts.\n\nRole in Buddhist doctrine \n\nBuddhist scriptures explain the five precepts as the minimal standard of Buddhist morality. It is the most important system of morality in Buddhism, together with the monastic rules. Śīla (Sanskrit; ) is used to refer to Buddhist precepts, including the five. But the word also refers to the virtue and morality which lies at the foundation of the spiritual path to enlightenment, which is the first of the three forms of training on the path. Thus, the precepts are rules or guidelines to develop mind and character to make progress on the path to enlightenment. The five precepts are part of the right speech, action and livelihood aspects of the Noble Eightfold Path, the core teaching of Buddhism. Moreover, the practice of the five precepts and other parts of śīla are described as forms of merit-making, means to create good karma. The five precepts have been described as social values that bring harmony to society, and breaches of the precepts described as antithetical to a harmonious society. On a similar note, in Buddhist texts, the ideal, righteous society is one in which people keep the five precepts.\n\nComparing different parts of Buddhist doctrine, the five precepts form the basis of the eight precepts, which are lay precepts stricter than the five precepts, similar to monastic precepts. Secondly, the five precepts form the first half of the ten or eleven precepts for a person aiming to become a Buddha (bodhisattva), as mentioned in the Brahmajala Sūtra of the Mahāyāna tradition. Contrasting these precepts with the five precepts, the latter were commonly referred to by Mahāyānists as the śrāvakayāna precepts, or the precepts of those aiming to become enlightened disciples (; ) of a Buddha, but not Buddhas themselves. The ten–eleven bodhisattva precepts presuppose the five precepts, and are partly based on them. The five precepts are also partly found in the teaching called the ten good courses of action, referred to in Theravāda () and Tibetan Buddhism (; ). Finally, the first four of the five precepts are very similar to the most fundamental rules of monastic discipline (), and may have influenced their development.\n\nIn conclusion, the five precepts lie at the foundation of all Buddhist practice, and in that respect, can be compared with the ten commandments in Christianity and Judaism or the ethical codes of Confucianism.\n\nHistory \nThe five precepts were part of Early Buddhism and are common to nearly all schools of Buddhism. In Early Buddhism, the five precepts were regarded as an ethic of restraint, to restrain unwholesome tendencies and thereby purify one's being to attain enlightenment. The five precepts were based on the pañcaśīla, prohibitions for pre-Buddhist Brahmanic priests, which were adopted in many Indic religions around 6th century BCE. The first four Buddhist precepts were nearly identical to these pañcaśīla, but the fifth precept, the prohibition on intoxication, was new in Buddhism: the Buddha's emphasis on awareness () was unique.\n\nIn some schools of ancient Indic Buddhism, Buddhist devotees could choose to adhere to only a number of precepts, instead of the complete five. The schools that would survive in later periods, however, that is Theravāda and Mahāyāna Buddhism, were both ambiguous about this practice. Some early Mahāyāna texts allow it, but some do not; Theravāda texts do not discuss such selective practice at all.\n\nThe prohibition on killing had motivated early Buddhists to form a stance against animal sacrifice, a common religious ritual practice in ancient India. According to the Pāli Canon, however, early Buddhists did not adopt a vegetarian lifestyle.\n\nIn Early Buddhist Texts, the role of the five precepts gradually develops. First of all, the precepts are combined with a declaration of faith in the Triple Gem (the Buddha, his teaching and the monastic community). Next, the precepts develop to become the foundation of lay practice. The precepts are seen as a preliminary condition for the higher development of the mind. At a third stage in the texts, the precepts are actually mentioned together with the triple gem, as though they are part of it. Lastly, the precepts, together with the triple gem, become a required condition for the practice of Buddhism, as laypeople have to undergo a formal initiation to become a member of the Buddhist religion. When Buddhism spread to different places and people, the role of the precepts began to vary. In countries in which Buddhism was adopted as the main religion without much competition from other religious disciplines, such as Thailand, the relation between the initiation of a layperson and the five precepts has been virtually non-existent. In such countries, the taking of the precepts has become a sort of ritual cleansing ceremony. People are presumed Buddhist from birth without much of an initiation. The precepts are often committed to by new followers as part of their installment, yet this is not very pronounced. However, in some countries like China, where Buddhism was not the only religion, the precepts became an ordination ceremony to initiate laypeople into the Buddhist religion.\n\nIn China, the five precepts were introduced in the first centuries CE, both in their śrāvakayāna and bodhisattva formats. During this time, it was particularly Buddhist teachers who promoted abstinence from alcohol (the fifth precept), since Daoism and other thought systems emphasized moderation rather than full abstinence. Chinese Buddhists interpreted the fifth precept strictly, even more so than in Indic Buddhism. For example, the monk Daoshi ( 600–683) dedicated large sections of his encyclopedic writings to abstinence from alcohol. However, in some parts of China, such as Dunhuang, considerable evidence has been found of alcohol consumption among both lay people and monastics. Later, from the 8th century onward, strict attitudes of abstinence led to a development of a distinct tea culture among Chinese monastics and lay intellectuals, in which tea gatherings replaced gatherings with alcoholic beverages, and were advocated as such. These strict attitudes were formed partly because of the religious writings, but may also have been affected by the bloody An Lushan Rebellion of 775, which had a sobering effect on 8th-century Chinese society. When the five precepts were integrated in Chinese society, they were associated and connected with karma, Chinese cosmology and medicine, a Daoist worldview, and Confucian virtue ethics.\n\nCeremonies\n\nIn Pāli tradition \n\nIn the Theravāda tradition, the precepts are recited in a standardized fashion, using Pāli language. In Thailand, a leading lay person will normally request the monk to administer the precepts by reciting the following three times:\n\nAfter this, the monk administering the precepts will recite a reverential line of text to introduce the ceremony, after which he guides the lay people in declaring that they take their refuge in the three refuges or triple gem.\n\nHe then continues with reciting the five precepts:\n \"I undertake the training-precept to abstain from onslaught on breathing beings.\" ()\n \"I undertake the training-precept to abstain from taking what is not given.\" ()\n \"I undertake the training-precept to abstain from misconduct concerning sense-pleasures.\" ()\n \"I undertake the training-precept to abstain from false speech.\" ()\n \"I undertake the training-precept to abstain from alcoholic drink or drugs that are an opportunity for heedlessness.\" ()\n\nAfter the lay people have repeated the five precepts after the monk, the monk will close the ceremony reciting:\n\nIn other textual traditions \n\nThe format of the ceremony for taking the precepts occurs several times in the Chinese Buddhist Canon, in slightly different forms.\n\nOne formula of the precepts can be found in the Treatise on Taking Refuge and the Precepts ():\n\n As all Buddhas refrained from killing until the end of their lives, so I too will refrain from killing until the end of my life.\n As all Buddhas refrained from stealing until the end of their lives, so I too will refrain from stealing until the end of my life.\n As all Buddhas refrained from sexual misconduct until the end of their lives, so I too will refrain from sexual misconduct until the end of my life.\n As all Buddhas refrained from false speech until the end of their lives, so I too will refrain from false speech until the end of my life.\n As all Buddhas refrained from alcohol until the end of their lives, so I too will refrain from alcohol until the end of my life.\n\nSimilarly, in the Mūla-Sarvāstivāda texts used in Tibetan Buddhism, the precepts are formulated such that one takes the precepts upon oneself for one's entire lifespan, following the examples of the enlightened disciples of the Buddha (arahant).\n\nPrinciples \n\nThe five precepts can be found in many places in the Early Buddhist Texts. The precepts are regarded as means to building good character, or as an expression of such character. The Pāli Canon describes them as means to avoid harm to oneself and others. It further describes them as gifts toward oneself and others. Moreover, the texts say that people who uphold them will be confident in any gathering of people, will have wealth and a good reputation, and will die a peaceful death, reborn in heaven or as a human being. On the other hand, living a life in violation of the precepts is believed to lead to rebirth in an unhappy destination. They are understood as principles that define a person as human in body and mind.\n\nThe precepts are normative rules, but are formulated and understood as \"undertakings\" rather than commandments enforced by a moral authority, according to the voluntary and gradualist standards of Buddhist ethics. They are forms of restraint formulated in negative terms, but are also accompanied by virtues and positive behaviors, which are cultivated through the practice of the precepts. The most important of these virtues is non-harming (Pāli and ), which underlies all of the five precepts. Precisely, the texts say that one should keep the precepts, adhering to the principle of comparing oneself with others:\n\nIn other words, all living beings are alike in that they want to be happy and not suffer. Comparing oneself with others, one should therefore not hurt others as one would not want to be hurt. Ethicist Pinit Ratanakul argues that the compassion which motivates upholding the precepts comes from an understanding that all living beings are equal and of a nature that they are 'not-self' (). Another aspect that is fundamental to this is the belief in karmic retribution.\n\nIn the upholding or violation of the precepts, intention is crucial. In the Pāli scriptures, an example is mentioned of a person stealing an animal only to set it free, which was not seen as an offense of theft. In the Pāli commentaries, a precept is understood to be violated when the person violating it finds the object of the transgression (e.g. things to be stolen), is aware of the violation, has the intention to violate it, does actually act on that intention, and does so successfully.\n\nUpholding the precepts is sometimes distinguished in three levels: to uphold them without having formally undertaken them; to uphold them formally, willing to sacrifice one's own life for it; and finally, to spontaneously uphold them. The latter refers to the arahant, who is understood to be morally incapable of violating the first four precepts. A layperson who upholds the precepts is described in the texts as a \"jewel among laymen\". On the other hand, the most serious violations of the precepts are the five actions of immediate retribution, which are believed to lead the perpetrator to an unavoidable rebirth in hell. These consist of injuring a Buddha, killing an arahant, killing one's father or mother, and causing the monastic community to have a schism.\n\nPractice in general \nLay followers often undertake these training rules in the same ceremony as they take the refuges. Monks administer the precepts to the laypeople, which creates an additional psychological effect. Buddhist lay people may recite the precepts regularly at home, and before an important ceremony at the temple to prepare the mind for the ceremony.\n\nThe five precepts are at the core of Buddhist morality. In field studies in some countries like Sri Lanka, villagers describe them as the core of the religion. Anthropologist Barend Terwiel found in his fieldwork that most Thai villagers knew the precepts by heart, and many, especially the elderly, could explain the implications of the precepts following traditional interpretations.\n\nHowever, Buddhists vary in how strict they follow them. Devotees who have just started keeping the precepts will typically have to exercise considerable restraint. When they become used to the precepts, they start to embody them more naturally. Researchers doing field studies in traditional Buddhist societies have found that the five precepts are generally considered demanding and challenging. For example, anthropologist Stanley Tambiah found in his field studies that strict observance of the precepts had \"little positive interest for the villager ... not because he devalues them but because they are not normally open to him\". Observing precepts was seen to be mostly the role of a monk or an elderly lay person. More recently, in a 1997 survey in Thailand, only 13.8% of the respondents indicated they adhered to the five precepts in their daily lives, with the fourth and fifth precept least likely to be adhered to. Yet, people do consider the precepts worth striving for, and do uphold them out of fear of bad karma and being reborn in hell, or because they believe in that the Buddha issued these rules, and that they therefore should be maintained. Anthropologist Melford Spiro found that Burmese Buddhists mostly upheld the precepts to avoid bad karma, as opposed to expecting to gain good karma. Scholar of religion Winston King observed from his field studies that the moral principles of Burmese Buddhists were based on personal self-developmental motives rather than other-regarding motives. Scholar of religion Richard Jones concludes that the moral motives of Buddhists in adhering to the precepts are based on the idea that renouncing self-service, ironically, serves oneself.\n\nIn East Asian Buddhism, the precepts are intrinsically connected with the initiation as a Buddhist lay person. Early Chinese translations such as the Upāsaka-śila Sūtra hold that the precepts should only be ritually transmitted by a monastic. The texts describe that in the ritual the power of the Buddhas and bodhisattvas is transmitted, and helps the initiate to keep the precepts. This \"lay ordination\" ritual usually occurs after a stay in a temple, and often after a monastic ordination (); has taken place. The ordained lay person is then given a religious name. The restrictions that apply are similar to a monastic ordination, such as permission from parents.\n\nIn the Theravāda tradition, the precepts are usually taken \"each separately\" (), to indicate that if one precept should be broken, the other precepts are still intact. In very solemn occasions, or for very pious devotees, the precepts may be taken as a group rather than each separately. This does not mean, however, that only some of the precepts can be undertaken; they are always committed to as a complete set. In East Asian Buddhism, however, the vow of taking the precepts is considered a solemn matter, and it is not uncommon for lay people to undertake only the precepts that they are confident they can keep. The act of taking a vow to keep the precepts is what makes it karmically effective: Spiro found that someone who did not violate the precepts, but did not have any intention to keep them either, was not believed to accrue any religious merit. On the other hand, when people took a vow to keep the precepts, and then broke them afterwards, the negative karma was considered larger than in the case no vow was taken to keep the precepts.\n\nSeveral modern teachers such as Thich Nhat Hanh and Sulak Sivaraksa have written about the five precepts in a wider scope, with regard to social and institutional relations. In these perspectives, mass production of weapons or spreading untruth through media and education also violates the precepts. On a similar note, human rights organizations in Southeast Asia have attempted to advocate respect for human rights by referring to the five precepts as guiding principles.\n\nFirst precept\n\nTextual analysis \n\nThe first precept prohibits the taking of life of a sentient being. It is violated when someone intentionally and successfully kills such a sentient being, having understood it to be sentient and using effort in the process. Causing injury goes against the spirit of the precept, but does, technically speaking, not violate it. The first precept includes taking the lives of animals, even small insects. However, it has also been pointed out that the seriousness of taking life depends on the size, intelligence, benefits done and the spiritual attainments of that living being. Killing a large animal is worse than killing a small animal (also because it costs more effort); killing a spiritually accomplished master is regarded as more severe than the killing of another \"more average\" human being; and killing a human being is more severe than the killing of an animal. But all killing is condemned. Virtues that accompany this precept are respect for dignity of life, kindness and compassion, the latter expressed as \"trembling for the welfare of others\". A positive behavior that goes together with this precept is protecting living beings. Positive virtues like sympathy and respect for other living beings in this regard are based on a belief in the cycle of rebirththat all living beings must be born and reborn. The concept of the fundamental Buddha nature of all human beings also underlies the first precept.\n\nThe description of the first precept can be interpreted as a prohibition of capital punishment. Suicide is also seen as part of the prohibition. Moreover, abortion (of a sentient being) goes against the precept, since in an act of abortion, the criteria for violation are all met. In Buddhism, human life is understood to start at conception. A prohibition of abortion is mentioned explicitly in the monastic precepts, and several Buddhist tales warn of the harmful karmic consequences of abortion. Bioethicist Damien Keown argues that Early Buddhist Texts do not allow for exceptions with regard to abortion, as they consist of a \"consistent' (i.e. exceptionless) pro-life position\". Keown further proposes that a middle way approach to the five precepts is logically hard to defend. Asian studies scholar Giulio Agostini argues, however, that Buddhist commentators in India from the 4th century onward thought abortion did not break the precepts under certain circumstances.\n\nOrdering another person to kill is also included in this precept, therefore requesting or administering euthanasia can be considered a violation of the precept, as well as advising another person to commit abortion. With regard to euthanasia and assisted suicide, Keown quotes the Pāli Dīgha Nikāya that says a person upholding the first precept \"does not kill a living being, does not cause a living being to be killed, does not approve of the killing of a living being\". Keown argues that in Buddhist ethics, regardless of motives, death can never be the aim of one's actions.\n\nInterpretations of how Buddhist texts regard warfare are varied, but in general Buddhist doctrine is considered to oppose all warfare. In many Jātaka tales, such as that of Prince Temiya, as well as some historical documents, the virtue of non-violence is taken as an opposition to all war, both offensive and defensive. At the same time, though, the Buddha is often shown not to explicitly oppose war in his conversations with political figures. Buddhologist André Bareau points out that the Buddha was reserved in his involvement of the details of administrative policy, and concentrated on the moral and spiritual development of his disciples instead. He may have believed such involvement to be futile, or detrimental to Buddhism. Nevertheless, at least one disciple of the Buddha is mentioned in the texts who refrained from retaliating his enemies because of the Buddha, that is King Pasenadi (). The texts are ambiguous in explaining his motives though. In some later Mahāyāna texts, such as in the writings of Asaṅga, examples are mentioned of people who kill those who persecute Buddhists. In these examples, killing is justified by the authors because protecting Buddhism was seen as more important than keeping the precepts. Another example that is often cited is that of King Duṭṭhagāmaṇī, who is mentioned in the post-canonical Pāli Mahāvaṃsa chronicle. In the chronicle, the king is saddened with the loss of life after a war, but comforted by a Buddhist monk, who states that nearly everyone who was killed did not uphold the precepts anyway. Buddhist studies scholar Lambert Schmithausen argues that in many of these cases Buddhist teachings like that of emptiness were misused to further an agenda of war or other violence.\n\nIn practice \n\nField studies in Cambodia and Burma have shown that many Buddhists considered the first precept the most important, or the most blamable. In some traditional communities, such as in Kandal Province in pre-war Cambodia, as well as Burma in the 1980s, it was uncommon for Buddhists to slaughter animals, to the extent that meat had to be bought from non-Buddhists. In his field studies in Thailand in the 1960s, Terwiel found that villagers did tend to kill insects, but were reluctant and self-conflicted with regard to killing larger animals. In Spiro's field studies, however, Burmese villagers were highly reluctant even to kill insects.\n\nEarly Buddhists did not adopt a vegetarian lifestyle. Indeed, in several Pāli texts vegetarianism is described as irrelevant in the spiritual purification of the mind. There are prohibitions on certain types of meat, however, especially those which are condemned by society. The idea of abstaining from killing animal life has also led to a prohibition on professions that involve trade in flesh or living beings, but not to a full prohibition of all agriculture that involves cattle. In modern times, referring to the law of supply and demand or other principles, some Theravādin Buddhists have attempted to promote vegetarianism as part of the five precepts. For example, the Thai Santi Asoke movement practices vegetarianism.\n\nFurthermore, among some schools of Buddhism, there has been some debate with regard to a principle in the monastic discipline. This principle states that a Buddhist monk cannot accept meat if it comes from animals especially slaughtered for him. Some teachers have interpreted this to mean that when the recipient has no knowledge on whether the animal has been killed for him, he cannot accept the food either. Similarly, there has been debate as to whether laypeople should be vegetarian when adhering to the five precepts. Though vegetarianism among Theravādins is generally uncommon, it has been practiced much in East Asian countries, as some Mahāyāna texts, such as the Mahāparanirvana Sūtra and the Laṅkāvatāra Sūtra, condemn the eating of meat. Nevertheless, even among Mahāyāna Buddhistsand East Asian Buddhiststhere is disagreement on whether vegetarianism should be practiced. In the Laṅkāvatāra Sūtra, biological, social and hygienic reasons are given for a vegetarian diet; however, historically, a major factor in the development of a vegetarian lifestyle among Mahāyāna communities may have been that Mahāyāna monastics cultivated their own crops for food, rather than living from alms. Already from the 4th century CE, Chinese writer Xi Chao understood the five precepts to include vegetarianism.\n\nApart from trade in flesh or living beings, there are also other professions considered undesirable. Vietnamese teacher Thich Nhat Hanh gives a list of examples, such as working in the arms industry, the military, police, producing or selling poison or drugs such as alcohol and tobacco.\n\nIn general, the first precept has been interpreted by Buddhists as a call for non-violence and pacifism. But there have been some exceptions of people who did not interpret the first precept as an opposition to war. For example, in the twentieth century, some Japanese Zen teachers wrote in support of violence in war, and some of them argued this should be seen as a means to uphold the first precept. There is some debate and controversy surrounding the problem whether a person can commit suicide, such as self-immolation, to reduce other people's suffering in the long run, such as in protest to improve a political situation in a country. Teachers like the Dalai Lama and Shengyan have rejected forms of protest like self-immolation, as well as other acts of self-harming or fasting as forms of protest.\n\nAlthough capital punishment goes against the first precept, as of 2001, many countries in Asia still maintained the death penalty, including Sri Lanka, Thailand, China and Taiwan. In some Buddhist countries, such as Sri Lanka and Thailand, capital punishment was applied during some periods, while during other periods no capital punishment was used at all. In other countries with Buddhism, like China and Taiwan, Buddhism, or any religion for that matter, has had no influence in policy decisions of the government. Countries with Buddhism that have abolished capital punishment include Cambodia and Hong Kong.\n\nIn general, Buddhist traditions oppose abortion. In many countries with Buddhist traditions such as Thailand, Taiwan, Korea and Japan, however, abortion is a widespread practice, whether legal or not. Many people in these countries consider abortion immoral, but also think it should be less prohibited. Ethicist Roy W. Perrett, following Ratanakul, argues that this field research data does not so much indicate hypocrisy, but rather points at a \"middle way\" in applying Buddhist doctrine to solve a moral dilemma. Buddhists tend to take \"both sides\" on the pro-life–pro-choice debate, being against the taking of life of a fetus in principle, but also believing in compassion toward mothers. Similar attitudes may explain the Japanese mizuko kuyō ceremony, a Buddhist memorial service for aborted children, which has led to a debate in Japanese society concerning abortion, and finally brought the Japanese to a consensus that abortion should not be taken lightly, though it should be legalized. This position, held by Japanese Buddhists, takes the middle ground between the Japanese neo-Shinto \"pro-life\" position, and the liberationist, \"pro-choice\" arguments. Keown points out, however, that this compromise does not mean a Buddhist middle way between two extremes, but rather incorporates two opposite perspectives. In Thailand, women who wish to have abortion usually do so in the early stages of pregnancy, because they believe the karmic consequences are less then. Having had abortion, Thai women usually make merits to compensate for the negative karma.\n\nSecond precept\n\nTextual analysis \n\nThe second precept prohibits theft, and involves the intention to steal what one perceives as not belonging to oneself (\"what is not given\") and acting successfully upon that intention. The severity of the act of theft is judged by the worth of the owner and the worth of that which is stolen. Underhand dealings, fraud, cheating and forgery are also included in this precept. Accompanying virtues are generosity, renunciation, and right livelihood, and a positive behavior is the protection of other people's property.\n\nIn practice \nThe second precept includes different ways of stealing and fraud. Borrowing without permission is sometimes included, as well as gambling. Psychologist Vanchai Ariyabuddhiphongs did studies in the 2000s and 2010s in Thailand and discovered that people who did not adhere to the five precepts more often tended to believe that money was the most important goal in life, and would more often pay bribes than people who did adhere to the precepts. On the other hand, people who observed the five precepts regarded themselves as wealthier and happier than people who did not observe the precepts.\n\nProfessions that are seen to violate the second precept include working in the gambling industry or marketing products that are not actually required for the customer.\n\nThird precept\n\nTextual analysis \nThe third precept condemns sexual misconduct. This has been interpreted in classical texts to include adultery with a married or engaged person, fornication, rape, incest, sex with a minor (under 18 years, or a person \"protected by any relative\"), and sex with a prostitute. In later texts, details such as intercourse at an inappropriate time or inappropriate place are also counted as breaches of the third precept. Masturbation goes against the spirit of the precept, though in the early texts it is not prohibited for laypeople.\n\nThe third precept is explained as leading to greed in oneself and harm to others. The transgression is regarded as more severe if the other person is a good person. Virtues that go hand-in-hand with the third precept are contentment, especially with one's partner, and recognition and respect for faithfulness in a marriage.\n\nIn practice \n\nThe third precept is interpreted as avoiding harm to another by using sensuality in the wrong way. This means not engaging with inappropriate partners, but also respecting one's personal commitment to a relationship. In some traditions, the precept also condemns adultery with a person whose spouse agrees with the act, since the nature of the act itself is condemned. Furthermore, flirting with a married person may also be regarded as a violation. Though prostitution is discouraged in the third precept, it is usually not actively prohibited by Buddhist teachers. With regard to applications of the principles of the third precept, the precept, or any Buddhist principle for that matter, is usually not connected with a stance against contraception. In traditional Buddhist societies such as Sri Lanka, pre-marital sex is considered to violate the precept, though this is not always adhered to by people who already intend to marry.\n\nIn the interpretation of modern teachers, the precept includes any person in a sexual relationship with another person, as they define the precept by terms such as sexual responsibility and long-term commitment. Some modern teachers include masturbation as a violation of the precept, others include certain professions, such as those that involve sexual exploitation, prostitution or pornography, and professions that promote unhealthy sexual behavior, such as in the entertainment industry.\n\nFourth precept\n\nTextual analysis \n\nThe fourth precept involves falsehood spoken or committed to by action. Avoiding other forms of wrong speech are also considered part of this precept, consisting of malicious speech, harsh speech and gossip. A breach of the precept is considered more serious if the falsehood is motivated by an ulterior motive (rather than, for example, \"a small white lie\"). The accompanying virtue is being honest and dependable, and involves honesty in work, truthfulness to others, loyalty to superiors and gratitude to benefactors. In Buddhist texts, this precept is considered second in importance to the first precept, because a lying person is regarded to have no shame, and therefore capable of many wrongs. Untruthfulness is not only to be avoided because it harms others, but also because it goes against the Buddhist ideal of finding the truth.\n\nIn practice \nThe fourth precept includes avoidance of lying and harmful speech. Some modern teachers such as Thich Nhat Hanh interpret this to include avoiding spreading false news and uncertain information. Work that involves data manipulation, false advertising or online scams can also be regarded as violations. Terwiel reports that among Thai Buddhists, the fourth precept is also seen to be broken when people insinuate, exaggerate or speak abusively or deceitfully.\n\nFifth precept\n\nTextual analysis \n\nThe fifth precept prohibits intoxication through alcohol, drugs or other means, and its virtues are mindfulness and responsibility, applied to food, work, behavior, and with regard to the nature of life. Awareness, meditation and heedfulness can also be included here. Medieval Pāli commentator Buddhaghosa writes that whereas violating the first four precepts may be more or less blamable depending on the person or animal affected, the fifth precept is always \"greatly blamable\", as it hinders one from understanding the Buddha's teaching and may lead one to \"madness\". In ancient China, Daoshi described alcohol as the \"doorway to laxity and idleness\" and as a cause of suffering. Nevertheless, he did describe certain cases when drinking was considered less of a problem, such as in the case of a queen distracting the king by alcohol to prevent him from murder. However, Daoshi was generally strict in his interpretations: for example, he allowed medicinal use of alcohol only in extreme cases. Early Chinese translations of the Tripitaka describe negative consequences for people breaking the fifth precept, for themselves and their families. The Chinese translation of the Upāsikaśila Sūtra, as well as the Pāli version of the Sigālovāda Sutta, speak of ill consequences such as loss of wealth, ill health, a bad reputation and \"stupidity\", concluding in a rebirth in hell. The Dīrghāgama adds to that that alcohol leads to quarreling, negative states of mind and damage to one's intelligence. The Mahāyāna Brahmajāla Sūtra describes the dangers of alcohol in very strong terms, including the selling of alcohol. Similar arguments against alcohol can be found in Nāgārjuna's writings. The strict interpretation of prohibition of alcohol consumption can be supported by the Upāli Sūtra's statement that a disciple of the Buddha should not drink any alcohol, \"even a drop on the point of a blade of grass\". However, in the writing of some Abhidharma commentators, consumption was condemned depending on the intention with which alcohol was consumed. An example of an intention which was not condemned is taking alcohol in a small amount as a form of medicine.\n\nIn practice \nThe fifth precept is regarded as important, because drinking alcohol is condemned for the sluggishness and lack of self-control it leads to, which might lead to breaking the other precepts. In Spiro's field studies, violating the fifth precept was seen as the worst of all the five precepts by half of the monks interviewed, citing the harmful consequences. Nevertheless, in practice it is often disregarded by lay people. In Thailand, drinking alcohol is fairly common, even drunkenness. Among Tibetans, drinking beer is common, though this is only slightly alcoholic. Medicinal use of alcohol is generally not frowned upon, and in some countries like Thailand and Laos, smoking is usually not regarded as a violation of the precept. Thai and Laotian monks have been known to smoke, though monks who have received more training are less likely to smoke. On a similar note, as of 2000, no Buddhist country prohibited the sale or consumption of alcohol, though in Sri Lanka Buddhist revivalists unsuccessfully attempted to get a full prohibition passed in 1956. Moreover, pre-Communist Tibet used to prohibit smoking in some areas of the capital. Monks were prohibited from smoking, and the import of tobacco was banned.\n\nThich Nhat Hanh also includes mindful consumption in this precept, which consists of unhealthy food, unhealthy entertainment and unhealthy conversations, among others.\n\nPresent trends \n\nIn modern times, adherence to the precepts among Buddhists is less strict than it traditionally was. This is especially true for the third precept. For example, in Cambodia in the 1990s and 2000s, standards with regard to sexual restraint were greatly relaxed. Some Buddhist movements and communities have tried to go against the modern trend of less strict adherence to the precepts. In Cambodia, a millenarian movement led by Chan Yipon promoted the revival of the five precepts. And in the 2010s, the Supreme Sangha Council in Thailand ran a nationwide program called \"The Villages Practicing the Five Precepts\", aiming to encourage keeping the precepts, with an extensive classification and reward system.\n\nIn many Western Buddhist organizations, the five precepts play a major role in developing ethical guidelines. Furthermore, Buddhist teachers such as Philip Kapleau, Thich Nhat Hanh and Robert Aitken have promoted mindful consumption in the West, based on the five precepts. In another development in the West, some scholars working in the field of mindfulness training have proposed that the five precepts be introduced as a component in such trainings. Specifically, to prevent organizations from using mindfulness training to further an economical agenda with harmful results to its employees, the economy or the environment, the precepts could be used as a standardized ethical framework. As of 2015, several training programs made explicit use of the five precepts as secular, ethical guidelines. However, many mindfulness training specialists consider it problematic to teach the five precepts as part of training programs in secular contexts because of their religious origins and import.\n\nPeace studies scholar Theresa Der-lan Yeh notes that the five precepts address physical, economical, familial and verbal aspects of interaction, and remarks that many conflict prevention programs in schools and communities have integrated the five precepts in their curriculum. On a similar note, peace studies founder Johan Galtung describes the five precepts as the \"basic contribution of Buddhism in the creation of peace\".\n\nTheory of ethics \n\nStudying lay and monastic ethical practice in traditional Buddhist societies, Spiro argued ethical guidelines such as the five precepts are adhered to as a means to a higher end, that is, a better rebirth or enlightenment. He therefore concluded that Buddhist ethical principles like the five precepts are similar to Western utilitarianism. Keown, however, has argued that the five precepts are regarded as rules that cannot be violated, and therefore may indicate a deontological perspective in Buddhist ethics. On the other hand, Keown has also suggested that Aristotle's virtue ethics could apply to Buddhist ethics, since the precepts are considered good in themselves, and mutually dependent on other aspects of the Buddhist path of practice. Philosopher Christopher Gowans disagrees that Buddhist ethics are deontological, arguing that virtue and consequences are also important in Buddhist ethics. Gowans argues that there is no moral theory in Buddhist ethics that covers all conceivable situations such as when two precepts may be in conflict, but is rather characterized by \"a commitment to and nontheoretical grasp of the basic Buddhist moral values\". As of 2017, many scholars of Buddhism no longer think it is useful to try to fit Buddhist ethics into a Western philosophical category.\n\nComparison with human rights \nKeown has argued that the five precepts are very similar to human rights, with regard to subject matter and with regard to their universal nature. Other scholars, as well as Buddhist writers and human rights advocates, have drawn similar comparisons. For example, the following comparisons are drawn:\n Keown compares the first precept with the right to life. The Buddhism-informed Cambodian Institute for Human Rights (CIHR) draws the same comparison.\n The second precept is compared by Keown and the CIHR with the right of property.\n The third precept is compared by Keown to the \"right to fidelity in marriage\"; the CIHR construes this broadly as \"right of individuals and the rights of society\".\n The fourth precept is compared by Keown with the \"right not to be lied to\"; the CIHR writes \"the right of human dignity\".\n Finally, the fifth precept is compared by the CIHR with the right of individual security and a safe society.\n\nKeown describes the relationship between Buddhist precepts and human rights as \"look[ing] both ways along the juridical relationship, both to what one is due to do, and to what is due to one\". On a similar note, Cambodian human rights advocates have argued that for human rights to be fully implemented in society, the strengthening of individual morality must also be addressed. Buddhist monk and scholar Phra Payutto sees the Human Rights Declaration as an unfolding and detailing of the principles that are found in the five precepts, in which a sense of ownership is given to the individual, to make legitimate claims on one's rights. He believes that human rights should be seen as a part of human development, in which one develops from moral discipline (), to concentration () and finally wisdom (). He does not believe, however, that human rights are natural rights, but rather human conventions. Buddhism scholar Somparn Promta disagrees with him. He argues that human beings do have natural rights from a Buddhist perspective, and refers to the attūpanāyika-dhamma, a teaching in which the Buddha prescribes a kind of golden rule of comparing oneself with others. (See §Principles, above.) From this discourse, Promta concludes that the Buddha has laid down the five precepts in order to protect individual rights such as right of life and property: human rights are implicit within the five precepts. Academic Buntham Phunsap argues, however, that though human rights are useful in culturally pluralistic societies, they are in fact not required when society is entirely based on the five precepts. Phunsap therefore does not see human rights as part of Buddhist doctrine.\n\nSee also \n Dhammika Sutta\nFive Principles of Peaceful Coexistence, five principles applied in geopolitics, for which the same term is used\n\nNotes\n\nCitations\n\nReferences\n\nExternal links \n\nFive Precepts: Collected Essays by Paul Dahlke (BPS Wheel Publication No. 55)\nGoing for Refuge; Taking the Precepts by Bhikkhu Bodhi (BPS Wheel Publication No. 282 / 284)\n For a Future to Be Possible: classic work about the five precepts, by Thich Nhat Hanh and several other authors\n The Mind of Clover: Essays in Zen Buddhist Ethics: by Robert Aitken, about the precepts in Zen Buddhism\n Excerpt from the Pāli Canon about the precepts, on website Access to Insight, archived from original on 7 May 2005\n Dissertation about the role of the precepts in modern society, and the aspect of heedfulness (apamada)\n Article with overview of the role of the precepts in Buddhist teachings, by scholar of religion Donald Swearer (registration required)\n The Buddha's Guidelines for Simplifying Life: The Precepts Buddhism for Beginners \n\nBuddhist oaths\nCodes of conduct\nBuddhist ethics\nBuddhist belief and doctrine\nBuddhism and society\nBuddhism and violence"
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"Mountain Jews",
"Religion",
"What Religion do Mountain Jews follow",
"Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.",
"Do they have any specific rituals related to this worship?",
"While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully.",
"Which precepts were not as strictly followed?",
"I don't know."
]
| C_65871370da554ea89ac79105bcc5beaf_1 | What other traditions were closely followed as a result of this religious background | 4 | Besides, what other Mountain Jews traditions were closely followed? | Mountain Jews | Mountain Jews are considered, by some, to be of Sephardic lineage; this however is a misnomer as they are neither Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Germany and Eastern-Europe) but rather come directly by way of Persia. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders. The religious survival of the community was not without difficulties. In the prosperous days of Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gerhson Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent. Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qirmizi Q@s@b@ Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 40's. The closing of the synagogues in the 30's was part of communist ideology, which resisted religion of any kind. At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation. CANNOTANSWER | CANNOTANSWER | Mountain Jews or Caucasus Jews also known as Juhuro, Juvuro, Juhuri, Juwuri, Juhurim, Kavkazi Jews or Gorsky Jews ( Yehudey Kavkaz or Yehudey he-Harim; , ) are Jews of the eastern and northern Caucasus, mainly Azerbaijan, and various republics in the Russian Federation: Chechnya, Ingushetia, Dagestan, Karachay-Cherkessia, and Kabardino-Balkaria.
Mountain Jews are the descendants of Persian Jews from Iran. The Mountain Jews took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire as part of the Treaty of Gulistan of 1813.
The Mountain Jews community became established in Ancient Persia, from the 5th century BCE onwards; their language, called Judeo-Tat, is an ancient Southwest Iranian language which integrates many elements of Ancient Hebrew.
It is believed that they had reached Persia from Ancient Israel as early as the 8th century BCE. They continued to migrate east, settling in mountainous areas of the Caucasus. The Mountain Jews survived numerous historical vicissitudes by settling in extremely remote and mountainous areas. They were known to be accomplished warriors and horseback riders.
The main Mountain Jewish settlement in Azerbaijan is Qırmızı Qəsəbə, also called Jerusalem of the Caucasus. In Russian, Qırmızı Qəsəbə was once called Еврейская Слобода (translit. Yevreyskaya Sloboda), "Jewish Village"; but during Soviet times it was renamed Красная Слобода (translit. Krasnaya Sloboda), "Red Village."
Mountain Jews are distinct from Georgian Jews of the Caucasus Mountains. The two groups are culturally different, speaking different languages and having many differences in customs and culture. Mountain Jews are a part of the Mizrahi Jewish communities.
History
Early history
The Mountain Jews, or Jews of the Caucasus, have inhabited the Caucasus since the fifth century CE. Being the descendants of the Persian Jews of Iran, their migration from Persia proper to the Caucasus took place in the Sasanian era (224-651). It is believed that they had arrived in Persia, from Ancient Israel, as early as the 8th century BCE Other sources, attest that Mountain Jews were present in the region of Azerbaijan, at least since 457 BCE However, the Mountain Jews only took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire per the Treaty of Gulistan of 1813.
Mountain Jews have an oral tradition, passed down generation after generation, that they are descended from the Ten Lost Tribes which were exiled by the king of Assyria (Ashur), who ruled over northern Iraq from Mosul (across the Tigris River from the ancient city of Nineveh). The reference, most likely is to Shalmaneser, the King of Assyria who is mentioned in II Kings 18:9-12. According to local Jewish tradition, some 19,000 Jews departed Jerusalem (used here as a generic term for the Land of Israel) and passed through Syria, Babylonia, and Persia and then, heading north, entered into Media.
In Chechnya, Mountain Jews partially assimilated into Chechen society by forming a Jewish teip, the Zhugtii while three other teips, the Shuonoi, Ziloi and Chartoi have also been theorized to have Jewish relations. In Chechen society, ethnic minorities residing in areas demographically dominated by Chechens have the option of forming a teip in order to properly participate in the developments of Chechen society such as making alliances and gaining representation in the Mekhk Khell, a supreme ethnonational council that is occasionally compared to a parliament. Teips of minority-origin have also been made by ethnic Poles, Germans, Georgians, Armenians, Kumyks, Russians, Kalmyks, Circassians, Andis, Avars, Dargins, Laks, Persians, Arabs, Ukrainians and Nogais, with the German teip having been formed as recently as the 1940s when Germans in Siberian exile living among Chechens assimilated.
Mountain Jews maintained a strong military tradition. For this reason, some historians believe they may be descended from Jewish military colonists, settled by Parthian and Sassanid rulers in the Caucasus as frontier guards against nomadic incursions from the Pontic steppe.
A 2002 study by geneticist Dror Rosengarten found that the paternal haplotypes of Mountain Jews "were shared with other Jewish communities and were consistent with a Mediterranean origin." In addition, Y-DNA testing of Mountain Jews has shown they have Y-DNA haplotypes related to those of other Jewish communities. The Semitic origin of Mountain Jews is also evident in their culture and language.
"The Jewish Valley"
By the early 17th century, Mountain Jews formed many small settlements throughout mountain valleys of Dagestan. One valley, located 10 km south of Derbent, close to the shore of the Caspian Sea, was predominantly populated by Mountain Jews. Their Muslim neighbors called this area "Jewish Valley." The Jewish Valley grew to be a semi-independent Jewish state, with its spiritual and political center located in its largest settlement of Aba-Sava (1630-1800). The valley prospered until the end of the 18th century, when its settlements were brutally destroyed in the war between Sheikh-Ali-Khan, who swore loyalty to the Russian Empire, and Surkhai-Khan, the ruler of Kumukh. Many Mountain Jews were slaughtered, with survivors escaping to Derbent where they received the protection of Fatali Khan, the ruler of Quba Khanate.
In the 18th–19th centuries, the Jews resettled from the highland to the coastal lowlands but carried the name "Mountain Jews" with them. In the villages (aouls), the Mountain Jews had settled in separate sections. In the lowland towns they also lived in concentrated neighborhoods, but their dwellings did not differ from those of their neighbors. Mountain Jews retained the dress of the highlanders. They have continued to follow Jewish dietary laws and affirm their faith in family life. In 1902, The New York Times reported that clans of natives undoubtedly of Jewish origin, who maintain many of the customs and the principal forms of religious worship of their ancestors, were discovered in the remote regions of Eastern Caucasus.
Soviet times, Holocaust and modern history
By 1926, more than 85% of Mountain Jews in Dagestan were already classed as urban. Mountain Jews were mainly concentrated in the cities of Makhachkala, Buynaksk, Derbent, Nalchik and Grozny in North Caucasus; and Quba and Baku in Azerbaijan.
In the Second World War, some Mountain Jews settlements in North Caucasus, including parts of their area in Kabardino-Balkaria were occupied by the German Wehrmacht at the end of 1942. During this period, they killed several hundreds of Mountain Jews until the Germans retreated early 1943. On September 20, 1942, Germans killed 420 Mountain Jews near the village of Bogdanovka. Some 1000–1500 Mountain Jews were murdered during the Holocaust. Many Mountain Jews survived, however, because German troops did not reach all their areas; in addition, attempts succeeded to convince local German authorities that this group were "religious" but not "racial" Jews.
The Soviet Army's advances in the area brought the Nalchik community under its protection. The Mountain Jewish community of Nalchik was the largest Mountain Jewish community occupied by Nazis, and the vast majority of the population has survived. With the help of their Kabardian neighbors, Mountain Jews of Nalchik convinced the local German authorities that they were Tats, the native people similar to other Caucasus Mountain peoples, not related to the ethnic Jews, who merely adopted Judaism. The annihilation of the Mountain Jews was suspended, contingent on racial investigation. Although the Nazis watched the village carefully, Rabbi Nachamil ben Hizkiyahu hid Sefer Torahs by burying them in a fake burial ceremony. The city was liberated a few months later.
In 1944, the NKVD deported the entire Chechen populace that surrounded the Mountain Jews in Chechnya, and moved other ethnic groups into their homes; Mountain Jews mostly refused to take the homes of deported Chechens while there are some reports of deported Chechens entrusting their homes to Jews in order to keep them safe.
Given the marked changes in the 1990s following the dissolution of the Soviet Union and rise of nationalism in the region, many Mountain Jews permanently left their hometowns in the Caucasus and relocated to Moscow or abroad. During the First Chechen War, many Jews left due to the Russian invasion and indiscriminate bombardment of civilian population by the Russian military. Despite historically close relations between Jews and Chechens, many also suffered high rate of kidnappings and violence at the hands of armed ethnic Chechen gangs who ransomed their freedom to "Israel and the international Jewish community". Many Mountain Jews emigrated to Israel or the United States. Qırmızı Qəsəbə in Azerbaijan remains the biggest settlement of Mountain Jews in the world, with the current population over 3,000.
Economy
While elsewhere in the Russian Empire, Jews were prohibited from owning land (excluding the Jews of Siberia and Central Asia), at the end of the 19th and the beginning of the 20th century, the Mountain Jews owned land and were farmers and gardeners, growing mainly grain. Their oldest occupation was rice-growing, but they also raised silkworms and cultivated tobacco. The Jewish vineyards were especially notable. The Jews and their Christian Armenian neighbors were the main producers of wine, as Muslims were prohibited by their religion from producing or consuming alcohol. Judaism, in turn, limited some types of meat consumption. Unlike their neighbors, the Jews raised few domestic animals. At the same time, they were renowned tanners. Tanning was their third most important economic activity after farming and gardening. At the end of the 19th century, 6% of Jews were engaged in this trade. Handicrafts and commerce were mostly practiced by Jews in towns.
The Soviet authorities bound the Mountain Jews to collective farms, but allowed them to continue their traditional cultivation of grapes, tobacco, and vegetables; and making wine. In practical terms, the Jews are no longer isolated from other ethnic groups.
With increasing urbanization and sovietization in progress, by the 1930s, a layer of intelligentsia began to form. By the late 1960s, academic professionals, such as pharmacists, medical doctors, and engineers, were quite common among the community. Mountain Jews worked in more professional positions than did Georgian Jews, though less than the Soviet Ashkenazi community, who were based in larger cities of Russia. A sizable number of Mountain Jewish worked in the entertainment industry in Dagestan. The republic's dancing ensemble "Lezginka" was led by Tankho Israilov, a Mountain Jew, for twenty one years (1958–79).
Religion
Mountain Jews are not Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Central Europe) but rather of Persian Jewish origin, and they follow some Mizrachi customs. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.
Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders.
The religious survival of the community was not without difficulties. In the prosperous days of the Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gershon Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent.
Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qırmızı Qəsəbə Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 1940s. The closing of the synagogues in the 1930s was part of communist ideology, which resisted religion of any kind.
At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation.
Educational institutions, language, literature
Mountain Jews speak Judeo-Tat, also called Juhuri, a form of Persian; it belongs to the southwestern group of the Iranian division of the Indo-European languages. Judeo-Tat has Semitic (Hebrew/Aramaic/Arabic) elements on all linguistic levels. Among other Semitic elements, Judeo-Tat has the Hebrew sound "ayin" (ע), whereas no neighboring languages have it. Until the early Soviet period, the language was written with semi-cursive Hebrew alphabet. Later, Judeo-Tat books, newspapers, textbooks, and other materials were printed with a Latin alphabet and finally in Cyrillic, which is still most common today. The first Judeo-Tat-language newspaper, Zakhmetkesh (Working People), was published in 1928 and operated until the second half of the twentieth century.
Originally, only boys were educated through synagogue schools. Starting from the 1860s, many well-off families switched to home-schooling, hiring private tutors, who taught their sons not only Hebrew, but also Russian and Yiddish. In the early 20th century, with advance of sovietization, Judeo-Tat became the language of instruction at newly founded elementary schools attended by both Mountain Jewish boys and girls. This policy continued until the beginning of World War II, when schools switched to Russian as the central government emphasized acquisition of Russian as the official language of the Soviet Union.
The Mountain Jewish community has had notable figures in public health, education, culture, and art.
In the 21st century, the government is encouraging the cultural life of minorities. In Dagestan and Kabardino-Balkaria, Judeo-Tat and Hebrew courses have been introduced in traditionally Mountain Jewish schools. In Dagestan, there is support for the revival of the Judeo-Tat-language theater and the publication of newspapers in that language.
Culture
Military tradition
And we, the Tats
We, Samson warriors,
Bar Kochba's heirs...
we went into battles
and bitterly, heroically
struggled for our freedom
"The Song of the Mountain Jews"
Mountain Jews are known for their military tradition and have been historically viewed as fierce warriors. Some historians suggest that the group traces its beginnings to Persian-Jewish soldiers who were stationed in the Caucasus by the Sasanian kings in the fifth or sixth century to protect the area from the onslaughts of the Huns and other nomadic invaders from the east. Men were typically heavily armed and some slept without removing their weapons.
Dress
Over time the Mountain Jews adopted the dress of their Muslim neighbors. Men typically wore chokhas and covered their head with papakhas, many variations of which could symbolize the men's social status. Wealthier men's dress was adorned with many pieces of jewelry, including silver and gold-decorated weaponry, pins, chains, belts, or kisets (small purse used to hold tobacco or coins). Women's dress was typically of simpler design in dark tones, made from silk, brocade, velvet, satin and later wool. They decorated the fabric with beads, gold pins or buttons, and silver gold-plated belts. Outside the house, both single and married women covered their hair with headscarves.
Cuisine
Mountain Jewish cuisine absorbed typical dishes from various peoples of the Caucasus, Azerbaijani and Persian cuisine, adjusting some recipes to conform to the laws of kashrut. Typical Mountain Jewish dishes include chudu (a type of meat pie), shashlik, dolma, kurze or dushpare, yarpagi, khinkali, tara (herb stew with pieces of meat), nermov (chicken or other meat stew with wheat and beans), plov (pilaf), buglame (curry like stew of fish or chicken eaten with rice (osh)), etc. Jewish holidays-themed dishes include Eshkene, a Persian soup, prepared for Passover, and a variety of hoshalevo (honey-based treats made with sunflower seeds or walnuts) typically prepared for Purim.
Music
The music of Mountain Jews is mostly based in the standard liturgy, for prayer and the celebration of holidays. Celebratory music played during weddings and similar events is typically upbeat with various instruments to add layers to the sound.
Notable Mountain Jews
Omer Adam, Israeli singer
Udi Adam, Israeli general and the former head of the Israeli Northern Command
Yekutiel Adam (1927–1982), Israeli general and former Deputy Chief of Staff of the Israeli Defense Forces
Albert Agarunov (1969–1992), the National Hero of Azerbaijan, starshina of the Azerbaijani Army who died during the First Nagorno-Karabakh War
Yakov Agarunov (1907–1992), Soviet poet and playwright
Eduard Akuvaev (1945–2015), Soviet/Russian artist and teacher
Daniil Atnilov (1913–1968), Soviet poet
Manuvakh Dadashev (1913–1943), Soviet poet
Mishi Bakhshiev (1910–1972), Soviet writer and poet
Astrix, producer of Trance music
Hizgil Avshalumov (1913–2001), novelist, poet and playwright
Izi Davidov, major philanthropist during Soviet times, donated from his personal wealth to a multitude of people across the Caucasus, born in Krasnaya Sloboda (Gilgoti quarter)
Ilona Davidova, Russian-American entrepreneur, linguist, author, developer of novel high-speed technique for studying English
Mark Eliyahu, Israeli kamancheh player, born in Dagestan
Boris Gavrilov (1908–1990), Soviet writer and poet
Mikhail Gavrilov (1926–2014), Soviet writer and poet
Sarit Hadad, Israeli singer
Zarakh Iliev, Russian businessman, entrepreneur and real estate magnate
Gavril Abramovich Ilizarov (1921–1992), Soviet physician, known for inventing the Ilizarov apparatus for lengthening limb bones and for his eponymous surgery (Mountain Jewish father, Ashkenazi Jewish mother)
Telman Ismailov, businessman and entrepreneur, owner of AST group
Tankho Israelov (1917–1981), dancer, choreographer
Sergey Izgiyayev (1922–1972), author, translator, and songwriter
Mirza Khazar (1947–2020), Azerbaijani author, political analyst, anchorman, radio journalist, publisher, and translator
Tamara Musakhanov (1924–2014), Soviet sculptor and ceramist
Mushail Mushailov (1941–2007), Soviet/Russian artist and teacher
God Nisanov, Russian businessman, entrepreneur and real estate magnate
Iosif Prigozhin, Russian music producer, winner of the 1998 Ovation award in the category Producer of the Year
Lior Refaelov, Israeli football player
Zoya Semenduyeva (1929–2020), Soviet and Israeli poet
Robert Tiviaev, Israeli politician, current member of the Knesset
Israel Tsvaygenbaum, Russian-American artist (Ashkenazi Jewish father, Mountain Jewish mother)
Vladimir Yakubov, Soviet mathematician
Yaffa Yarkoni (1925–2012), Israeli singer, winner of the Israel Prize in 1998
Anatoly Yagudaev (1935–2014), sculptor. He held an honorary title of People's Artist of the Russian Federation
, Vice-President of the East-Asian Jewish Congress, Vice-President of the World Congress of Mountain Jews, President of the STMEGI International Charitable Foundation
Semen (Zalman) Ikhiilovich Divilov (1914–1988), economist, member of the board of the State Planning Committee of Azerbaijan 1952–1982
Zhasmin (née Sara Manakimovna), Russian pop-singer, winner of numerous music awards, including the Golden Gramophone Award (2000, 2001, 2003—2005, 2012—2015), Ovation (2000) and MTV Russia Music Awards (2005)
Gallery
See also
Mountain Jews in Israel
Israel-Azerbaijan relations
Qırmızı Qəsəbə, the primary settlement of Azerbaijan's population of Mountain Jews (3600).
Khazars
History of the Jews in Azerbaijan
World Congress of Mountain Jews
References
Further reading
External links
juhuro.com, website created by Vadim Alhasov in 2001. Daily updates reflect the life of Mountain Jewish (juhuro) community around the globe.
newfront.us, New Frontier is a monthly Mountain Jewish newspaper, founded in 2003. International circulation via its web site.
keshev-k.com, Israeli website of Mountain Jews
gorskie.ru, Mountain Jews, website in Russian language
"Judæo-Tat", Ethnologue
Jews
Jewish ethnic groups
Iranian Jews
Mizrahi Jews
Jews and Judaism in Persia and Iran
Jews
Mountain
Hill people
Ethnic groups in the Middle East | false | [
"Contemplative psychology \"is a psychology that forms an intrinsic part of the contemplative traditions of most world religions. The term 'contemplative psychology' therefore does not refer to academic psychological theory about contemplation, religion or religious behavior. It refers to the psychological insights and methods that are - often implicitly - present in the vision and practice of religions and that clarify and guide ones contemplative or religious development\" (p. 82). \"Contemplative psychology addresses the question of how we could intelligently approach and understand human life-experience\" (p. 83).\n\nBackground \nThe term Contemplative Psychology was coined by Han F. De Wit in 1991 when he, a theoretical psychologist at Vrije Universiteit in Amsterdam, published his pioneering book Contemplative Psychology. The goal of this project was to \"establish a dialogue between contemplative psychology and academic psychology\" (p. 233). As a first step Han did not offer a systematic contemplative psychology but rather he suggested a \"framework in which a full-fledged contemplative psychology may be developed\" (p. 3). Is this work he outlines the \"contours and the view of contemplative psychology\" (p. 4). As Han develops the concept, his first point is to illustrate \"a position from which the 'excavation' and 'exposure' of the contemplative psychologies seems possible\" (p. 115) and to \"make explicit and clarify the nature and position of the psychological know-how that contemplative traditions contain\" (p. 14) This implied a comparative study of different religious and contemplative traditions in the belief that there was enough in common between these traditions to make \"the search for a general contemplative psychological perspective and approach\" meaningful (p. 4).\n\nContemplative psychology became visible in the Western sphere of psychology when researchers began studying the methods used to help individuals understand their own mind, emotions, and motivations. The goal of these practices is to improve the quality of one's own life (and, by extension, the quality of other people's lives). Research began at Naropa University, and was developed extensively by Han himself.\n\nThus far, mindfulness has been the contemplative practice of most research. Mindfulness is a practice that allows one to exist in the present moment without being judgmental of it. This meditative absorption, often referred to as samadhi in many eastern traditions, is the equivalent of contemplation in Western traditions. Gerald G. May expands on this notion in his book Will and Spirit by differentiating between willfulness and willingness. Willfulness, he explains, is one's attempted mastery over the psyche, while willingness is a surrender of one's self to a way of being. Contemplative practices allow persons to cultivate meaningful experiences intrinsic to religious and spiritual traditions that are virtually absent in modern, mechanistic psychology alone.\n\nUnderstanding contemplative traditions \nFor Han, the project of defining a contemplative psychology begins with the excavation and explication of the \"psychology embedded in various contemplative traditions (although often in an implicit and not fully developed state); to compare these different psychologies and derive more general rules from them; and to refine and systematize these findings further through a confrontation with contemporary academic psychology\" (p. 84). Thus Han did not create the concept of contemplative psychology from scratch. It emerged as a common techne in various religious and secular traditions.\n\nHan develops three concepts of contemplative tradition: monastic tradition, lay tradition and temporal (non-religious) tradition. Monastic tradition is \"a context in which people devote their whole life to the practice of a religious discipline and to the spiritual exercises that are part of it\" (p. 84). People of the monastic traditions typically live with a group of individuals that is fairly separate from the surrounding society. \"Their daily life activities are permeated by a discipline that is supposed to develop and sustain religious or spiritual growth\" (p. 84). These individuals are typically trained to possess a practical knowledge of their particular tradition and there role is to educate people in the religious view of the world. \"This know how is psychological and methodological in nature\" (p. 84). It is a form of contemplative psychology.\n\nLay traditions are \"religious disciplines that are practiced in the context of normal every day life\" (p. 84). There are two particular views on lay tradition practice. One is that religious practice in everyday life brings one closer to a monastic tradition and the other is that daily life is the ultimate monastery and that daily practice is the monastic practice brought into everyday lived experiences. In either view there is psychological knowledge that could be considered contemplative.\n\nTemporal (non-religious) traditions are \"contemplative traditions could be 'non religious', that is without a connection with a particular religion\" (p. 84). Despite an informal nature these traditions contain \"a discipline based on a particular kind of psychological knowledge, that guides its practitioners towards the realization of the highest human values\" (p. 84).\n\nThe assumption of contemplative psychology is that contemplative traditions have in common \"some normative anthropology, some notion of 'materialistic man' or 'fallen man' and the idea that human beings have the possibility to uplift themselves and others from their' corrupted state' towards what is often called 'enlightenment'\"(p. 84). Contemplative psychology gathers its knowledge base from the comparative analysis of experiential knowledge across contemplative traditions.\n\nDifferences from the psychology of religion and psychology in general\n\"If we would interpret the preposition ‘of’ in the possessive sense of 'belonging to', then contemplative psychology would definitely be a psychology of religion, but the academic ‘psychology of religion’ would not. For the standard interpretation of the preposition ‘of' in ‘psychology of religion’ is rather in the direction of ‘about’ than in the direction of ‘belonging to’. And conventional psychology about religion is not and does not intend to be a psychology belonging to religion\" (p.86).Thus contemplative psychology is a psychology of first-person experience. The psychology of religion (and scientific psychology) is a psychology about its object of study, it is a third-person psychology. The major difference is epistemological. The first-person nature of contemplative psychology values the knowledge which comes from private, personal experience. \"It has its own notion of objectivity (see e.g. the ‘acid test of truth’ in Roberts, 1985: 171)\" (p.86). The psychology of religion and scientific psychology in general \"tend to shun away from research into experience that is only available in the first-person sense. For the private character of first-person experience seems to exclude ‘objectivity’ as defined in third person methodology\" (p. 86).\n\nDiffering objectives \n\"The object of contemplative psychology is the totality of human existence or human experience. The central question is: what is the place of all aspects of human life within the contemplative perspective and its development? How could one deal with all these aspects in a way that furthers one’s contemplative development\" (p.87)?\"The object of scientific psychology of religion is religion itself, which is viewed as one among the many non-religious aspects of human life. The central question here is: how could we gain a third-person psychological understanding of religious phenomena and how are these causally related to other non-religious phenomena\" (p.87)?\n\nDiffering aims \nThe aim of contemplative psychology as a field of study is a way of life. It pursues knowledge about living \"in the first-person sense of being wise [and] being free from confusion and ignorance\" (p. 87).\n\nThe aim of psychology of religion is scientific knowledge, that is true information about its object of study. \"This knowledge is primarily representational and indirect and as such distinct from (at a distance of) what it represents\"(p. 87).\n\nDiffering methodology \nBecause of the difference in epistemological bases there is also differentiation between the methods of acquiring the differing types of knowledge. The methods of contemplative psychologies are in fact practices and disciplines like (meditation, contemplation, prayer) that bring about what the contemplative tradition views the existentential path towards the above-mentioned aims.\" Han de Wit characterizes these practices as awareness strategies that are aimed at the \"discipline of becoming aware on the spot of one’s working basis\" (p. 111). The methods of psychology of religion consist of the empirical scientific method, which are characterized by Han de Wit as conceptual strategies, as they aim for the development of conceptual knowledge that represents human behavior.\"\n\nUses \nAn example of using contemplative psychology would be using Buddhist concepts such as no self (anatta), equanimity, karma, impermanence, brilliant sanity (or buddha-nature), ego, mindfulness, and interconnectedness as framework for interpreting psychological experiences, as is done in the contemplative counseling program at Naropa university. The same could be applied to other faiths, as May used the Christian concept of Grace as a framework for explaining our psychological surrender to a cosmic order.\n\nReferences\n\nFurther reading \nRoberts, B. The path to no self. Boston & London: Shambhala publ, 1985.\n\nRussell, B. The problems of philosophy. London & New York: Oxford Univ. Press, 1912.\n\nPsychology of religion",
"This is a list of Christmas and winter gift-bringer figures from around the world.\n\nThe history of mythical or folkloric gift-bringing figures who appear in winter, often at or around the Christmas period, is complex, and in many countries the gift-bringer – and the gift-bringer's date of arrival – has changed over time as native customs have been influenced by those in other countries. While many though not all gift-bringers originated as religious figures, gift-bringing is often now a non-religious custom and secular figures exist in many countries that have little or no tradition of celebrating Christmas as a religious festival. Some figures are entirely local, and some have been deliberately and more recently invented.\n\nThe main originating strands – all of which have their roots in Europe – are \n the overlapping winter-based and religious Old Man traditions (St Nicholas, Santa Claus, Father Christmas, St Basil, Grandfather Frost), \n the Christ Child traditions promoted by Martin Luther (Christkind, Baby Jesus, Child God), and \n the Three Kings traditions.\nNot all gift-bringers were or are specifically focused on Christmas Eve or Christmas Day: other common customs are 6 December (St Nicholas), 1 January, New Year (St Basil, or secular), and 6 January, Epiphany (Three Kings).\n\nThe international popularity of the figure of Santa Claus, originally from the United States, has transformed the older traditions of many countries.\n\nList of gift-bringers\n\nGiven the overlapping nature of gift-bringers throughout the world in name, attributes, date of arrival, and religious versus secular identity, this list may include winter gift-bringers that are not specifically associated with Christmas. The list should however not include mythical or folkloric characters that do not bring gifts, such as Father Time.\n\nSee also\n\nChristmas traditions\nSanta Claus\n\nReferences\n\nBibliography\n \n\nChristmas gift-bringers\nChristmas traditions\nChristmas characters\nChristian folklore\nGift-bringers\nLists of legendary creatures"
]
|
[
"Mountain Jews",
"Religion",
"What Religion do Mountain Jews follow",
"Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.",
"Do they have any specific rituals related to this worship?",
"While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully.",
"Which precepts were not as strictly followed?",
"I don't know.",
"What other traditions were closely followed as a result of this religious background",
"I don't know."
]
| C_65871370da554ea89ac79105bcc5beaf_1 | What was noteable about the religious traditions of the Mountain Jews | 5 | What was noteable about the religious traditions of the Mountain Jews | Mountain Jews | Mountain Jews are considered, by some, to be of Sephardic lineage; this however is a misnomer as they are neither Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Germany and Eastern-Europe) but rather come directly by way of Persia. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders. The religious survival of the community was not without difficulties. In the prosperous days of Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gerhson Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent. Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qirmizi Q@s@b@ Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 40's. The closing of the synagogues in the 30's was part of communist ideology, which resisted religion of any kind. At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation. CANNOTANSWER | The community's ethnic identity remained unshaken despite the Soviet efforts. | Mountain Jews or Caucasus Jews also known as Juhuro, Juvuro, Juhuri, Juwuri, Juhurim, Kavkazi Jews or Gorsky Jews ( Yehudey Kavkaz or Yehudey he-Harim; , ) are Jews of the eastern and northern Caucasus, mainly Azerbaijan, and various republics in the Russian Federation: Chechnya, Ingushetia, Dagestan, Karachay-Cherkessia, and Kabardino-Balkaria.
Mountain Jews are the descendants of Persian Jews from Iran. The Mountain Jews took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire as part of the Treaty of Gulistan of 1813.
The Mountain Jews community became established in Ancient Persia, from the 5th century BCE onwards; their language, called Judeo-Tat, is an ancient Southwest Iranian language which integrates many elements of Ancient Hebrew.
It is believed that they had reached Persia from Ancient Israel as early as the 8th century BCE. They continued to migrate east, settling in mountainous areas of the Caucasus. The Mountain Jews survived numerous historical vicissitudes by settling in extremely remote and mountainous areas. They were known to be accomplished warriors and horseback riders.
The main Mountain Jewish settlement in Azerbaijan is Qırmızı Qəsəbə, also called Jerusalem of the Caucasus. In Russian, Qırmızı Qəsəbə was once called Еврейская Слобода (translit. Yevreyskaya Sloboda), "Jewish Village"; but during Soviet times it was renamed Красная Слобода (translit. Krasnaya Sloboda), "Red Village."
Mountain Jews are distinct from Georgian Jews of the Caucasus Mountains. The two groups are culturally different, speaking different languages and having many differences in customs and culture. Mountain Jews are a part of the Mizrahi Jewish communities.
History
Early history
The Mountain Jews, or Jews of the Caucasus, have inhabited the Caucasus since the fifth century CE. Being the descendants of the Persian Jews of Iran, their migration from Persia proper to the Caucasus took place in the Sasanian era (224-651). It is believed that they had arrived in Persia, from Ancient Israel, as early as the 8th century BCE Other sources, attest that Mountain Jews were present in the region of Azerbaijan, at least since 457 BCE However, the Mountain Jews only took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire per the Treaty of Gulistan of 1813.
Mountain Jews have an oral tradition, passed down generation after generation, that they are descended from the Ten Lost Tribes which were exiled by the king of Assyria (Ashur), who ruled over northern Iraq from Mosul (across the Tigris River from the ancient city of Nineveh). The reference, most likely is to Shalmaneser, the King of Assyria who is mentioned in II Kings 18:9-12. According to local Jewish tradition, some 19,000 Jews departed Jerusalem (used here as a generic term for the Land of Israel) and passed through Syria, Babylonia, and Persia and then, heading north, entered into Media.
In Chechnya, Mountain Jews partially assimilated into Chechen society by forming a Jewish teip, the Zhugtii while three other teips, the Shuonoi, Ziloi and Chartoi have also been theorized to have Jewish relations. In Chechen society, ethnic minorities residing in areas demographically dominated by Chechens have the option of forming a teip in order to properly participate in the developments of Chechen society such as making alliances and gaining representation in the Mekhk Khell, a supreme ethnonational council that is occasionally compared to a parliament. Teips of minority-origin have also been made by ethnic Poles, Germans, Georgians, Armenians, Kumyks, Russians, Kalmyks, Circassians, Andis, Avars, Dargins, Laks, Persians, Arabs, Ukrainians and Nogais, with the German teip having been formed as recently as the 1940s when Germans in Siberian exile living among Chechens assimilated.
Mountain Jews maintained a strong military tradition. For this reason, some historians believe they may be descended from Jewish military colonists, settled by Parthian and Sassanid rulers in the Caucasus as frontier guards against nomadic incursions from the Pontic steppe.
A 2002 study by geneticist Dror Rosengarten found that the paternal haplotypes of Mountain Jews "were shared with other Jewish communities and were consistent with a Mediterranean origin." In addition, Y-DNA testing of Mountain Jews has shown they have Y-DNA haplotypes related to those of other Jewish communities. The Semitic origin of Mountain Jews is also evident in their culture and language.
"The Jewish Valley"
By the early 17th century, Mountain Jews formed many small settlements throughout mountain valleys of Dagestan. One valley, located 10 km south of Derbent, close to the shore of the Caspian Sea, was predominantly populated by Mountain Jews. Their Muslim neighbors called this area "Jewish Valley." The Jewish Valley grew to be a semi-independent Jewish state, with its spiritual and political center located in its largest settlement of Aba-Sava (1630-1800). The valley prospered until the end of the 18th century, when its settlements were brutally destroyed in the war between Sheikh-Ali-Khan, who swore loyalty to the Russian Empire, and Surkhai-Khan, the ruler of Kumukh. Many Mountain Jews were slaughtered, with survivors escaping to Derbent where they received the protection of Fatali Khan, the ruler of Quba Khanate.
In the 18th–19th centuries, the Jews resettled from the highland to the coastal lowlands but carried the name "Mountain Jews" with them. In the villages (aouls), the Mountain Jews had settled in separate sections. In the lowland towns they also lived in concentrated neighborhoods, but their dwellings did not differ from those of their neighbors. Mountain Jews retained the dress of the highlanders. They have continued to follow Jewish dietary laws and affirm their faith in family life. In 1902, The New York Times reported that clans of natives undoubtedly of Jewish origin, who maintain many of the customs and the principal forms of religious worship of their ancestors, were discovered in the remote regions of Eastern Caucasus.
Soviet times, Holocaust and modern history
By 1926, more than 85% of Mountain Jews in Dagestan were already classed as urban. Mountain Jews were mainly concentrated in the cities of Makhachkala, Buynaksk, Derbent, Nalchik and Grozny in North Caucasus; and Quba and Baku in Azerbaijan.
In the Second World War, some Mountain Jews settlements in North Caucasus, including parts of their area in Kabardino-Balkaria were occupied by the German Wehrmacht at the end of 1942. During this period, they killed several hundreds of Mountain Jews until the Germans retreated early 1943. On September 20, 1942, Germans killed 420 Mountain Jews near the village of Bogdanovka. Some 1000–1500 Mountain Jews were murdered during the Holocaust. Many Mountain Jews survived, however, because German troops did not reach all their areas; in addition, attempts succeeded to convince local German authorities that this group were "religious" but not "racial" Jews.
The Soviet Army's advances in the area brought the Nalchik community under its protection. The Mountain Jewish community of Nalchik was the largest Mountain Jewish community occupied by Nazis, and the vast majority of the population has survived. With the help of their Kabardian neighbors, Mountain Jews of Nalchik convinced the local German authorities that they were Tats, the native people similar to other Caucasus Mountain peoples, not related to the ethnic Jews, who merely adopted Judaism. The annihilation of the Mountain Jews was suspended, contingent on racial investigation. Although the Nazis watched the village carefully, Rabbi Nachamil ben Hizkiyahu hid Sefer Torahs by burying them in a fake burial ceremony. The city was liberated a few months later.
In 1944, the NKVD deported the entire Chechen populace that surrounded the Mountain Jews in Chechnya, and moved other ethnic groups into their homes; Mountain Jews mostly refused to take the homes of deported Chechens while there are some reports of deported Chechens entrusting their homes to Jews in order to keep them safe.
Given the marked changes in the 1990s following the dissolution of the Soviet Union and rise of nationalism in the region, many Mountain Jews permanently left their hometowns in the Caucasus and relocated to Moscow or abroad. During the First Chechen War, many Jews left due to the Russian invasion and indiscriminate bombardment of civilian population by the Russian military. Despite historically close relations between Jews and Chechens, many also suffered high rate of kidnappings and violence at the hands of armed ethnic Chechen gangs who ransomed their freedom to "Israel and the international Jewish community". Many Mountain Jews emigrated to Israel or the United States. Qırmızı Qəsəbə in Azerbaijan remains the biggest settlement of Mountain Jews in the world, with the current population over 3,000.
Economy
While elsewhere in the Russian Empire, Jews were prohibited from owning land (excluding the Jews of Siberia and Central Asia), at the end of the 19th and the beginning of the 20th century, the Mountain Jews owned land and were farmers and gardeners, growing mainly grain. Their oldest occupation was rice-growing, but they also raised silkworms and cultivated tobacco. The Jewish vineyards were especially notable. The Jews and their Christian Armenian neighbors were the main producers of wine, as Muslims were prohibited by their religion from producing or consuming alcohol. Judaism, in turn, limited some types of meat consumption. Unlike their neighbors, the Jews raised few domestic animals. At the same time, they were renowned tanners. Tanning was their third most important economic activity after farming and gardening. At the end of the 19th century, 6% of Jews were engaged in this trade. Handicrafts and commerce were mostly practiced by Jews in towns.
The Soviet authorities bound the Mountain Jews to collective farms, but allowed them to continue their traditional cultivation of grapes, tobacco, and vegetables; and making wine. In practical terms, the Jews are no longer isolated from other ethnic groups.
With increasing urbanization and sovietization in progress, by the 1930s, a layer of intelligentsia began to form. By the late 1960s, academic professionals, such as pharmacists, medical doctors, and engineers, were quite common among the community. Mountain Jews worked in more professional positions than did Georgian Jews, though less than the Soviet Ashkenazi community, who were based in larger cities of Russia. A sizable number of Mountain Jewish worked in the entertainment industry in Dagestan. The republic's dancing ensemble "Lezginka" was led by Tankho Israilov, a Mountain Jew, for twenty one years (1958–79).
Religion
Mountain Jews are not Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Central Europe) but rather of Persian Jewish origin, and they follow some Mizrachi customs. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.
Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders.
The religious survival of the community was not without difficulties. In the prosperous days of the Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gershon Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent.
Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qırmızı Qəsəbə Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 1940s. The closing of the synagogues in the 1930s was part of communist ideology, which resisted religion of any kind.
At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation.
Educational institutions, language, literature
Mountain Jews speak Judeo-Tat, also called Juhuri, a form of Persian; it belongs to the southwestern group of the Iranian division of the Indo-European languages. Judeo-Tat has Semitic (Hebrew/Aramaic/Arabic) elements on all linguistic levels. Among other Semitic elements, Judeo-Tat has the Hebrew sound "ayin" (ע), whereas no neighboring languages have it. Until the early Soviet period, the language was written with semi-cursive Hebrew alphabet. Later, Judeo-Tat books, newspapers, textbooks, and other materials were printed with a Latin alphabet and finally in Cyrillic, which is still most common today. The first Judeo-Tat-language newspaper, Zakhmetkesh (Working People), was published in 1928 and operated until the second half of the twentieth century.
Originally, only boys were educated through synagogue schools. Starting from the 1860s, many well-off families switched to home-schooling, hiring private tutors, who taught their sons not only Hebrew, but also Russian and Yiddish. In the early 20th century, with advance of sovietization, Judeo-Tat became the language of instruction at newly founded elementary schools attended by both Mountain Jewish boys and girls. This policy continued until the beginning of World War II, when schools switched to Russian as the central government emphasized acquisition of Russian as the official language of the Soviet Union.
The Mountain Jewish community has had notable figures in public health, education, culture, and art.
In the 21st century, the government is encouraging the cultural life of minorities. In Dagestan and Kabardino-Balkaria, Judeo-Tat and Hebrew courses have been introduced in traditionally Mountain Jewish schools. In Dagestan, there is support for the revival of the Judeo-Tat-language theater and the publication of newspapers in that language.
Culture
Military tradition
And we, the Tats
We, Samson warriors,
Bar Kochba's heirs...
we went into battles
and bitterly, heroically
struggled for our freedom
"The Song of the Mountain Jews"
Mountain Jews are known for their military tradition and have been historically viewed as fierce warriors. Some historians suggest that the group traces its beginnings to Persian-Jewish soldiers who were stationed in the Caucasus by the Sasanian kings in the fifth or sixth century to protect the area from the onslaughts of the Huns and other nomadic invaders from the east. Men were typically heavily armed and some slept without removing their weapons.
Dress
Over time the Mountain Jews adopted the dress of their Muslim neighbors. Men typically wore chokhas and covered their head with papakhas, many variations of which could symbolize the men's social status. Wealthier men's dress was adorned with many pieces of jewelry, including silver and gold-decorated weaponry, pins, chains, belts, or kisets (small purse used to hold tobacco or coins). Women's dress was typically of simpler design in dark tones, made from silk, brocade, velvet, satin and later wool. They decorated the fabric with beads, gold pins or buttons, and silver gold-plated belts. Outside the house, both single and married women covered their hair with headscarves.
Cuisine
Mountain Jewish cuisine absorbed typical dishes from various peoples of the Caucasus, Azerbaijani and Persian cuisine, adjusting some recipes to conform to the laws of kashrut. Typical Mountain Jewish dishes include chudu (a type of meat pie), shashlik, dolma, kurze or dushpare, yarpagi, khinkali, tara (herb stew with pieces of meat), nermov (chicken or other meat stew with wheat and beans), plov (pilaf), buglame (curry like stew of fish or chicken eaten with rice (osh)), etc. Jewish holidays-themed dishes include Eshkene, a Persian soup, prepared for Passover, and a variety of hoshalevo (honey-based treats made with sunflower seeds or walnuts) typically prepared for Purim.
Music
The music of Mountain Jews is mostly based in the standard liturgy, for prayer and the celebration of holidays. Celebratory music played during weddings and similar events is typically upbeat with various instruments to add layers to the sound.
Notable Mountain Jews
Omer Adam, Israeli singer
Udi Adam, Israeli general and the former head of the Israeli Northern Command
Yekutiel Adam (1927–1982), Israeli general and former Deputy Chief of Staff of the Israeli Defense Forces
Albert Agarunov (1969–1992), the National Hero of Azerbaijan, starshina of the Azerbaijani Army who died during the First Nagorno-Karabakh War
Yakov Agarunov (1907–1992), Soviet poet and playwright
Eduard Akuvaev (1945–2015), Soviet/Russian artist and teacher
Daniil Atnilov (1913–1968), Soviet poet
Manuvakh Dadashev (1913–1943), Soviet poet
Mishi Bakhshiev (1910–1972), Soviet writer and poet
Astrix, producer of Trance music
Hizgil Avshalumov (1913–2001), novelist, poet and playwright
Izi Davidov, major philanthropist during Soviet times, donated from his personal wealth to a multitude of people across the Caucasus, born in Krasnaya Sloboda (Gilgoti quarter)
Ilona Davidova, Russian-American entrepreneur, linguist, author, developer of novel high-speed technique for studying English
Mark Eliyahu, Israeli kamancheh player, born in Dagestan
Boris Gavrilov (1908–1990), Soviet writer and poet
Mikhail Gavrilov (1926–2014), Soviet writer and poet
Sarit Hadad, Israeli singer
Zarakh Iliev, Russian businessman, entrepreneur and real estate magnate
Gavril Abramovich Ilizarov (1921–1992), Soviet physician, known for inventing the Ilizarov apparatus for lengthening limb bones and for his eponymous surgery (Mountain Jewish father, Ashkenazi Jewish mother)
Telman Ismailov, businessman and entrepreneur, owner of AST group
Tankho Israelov (1917–1981), dancer, choreographer
Sergey Izgiyayev (1922–1972), author, translator, and songwriter
Mirza Khazar (1947–2020), Azerbaijani author, political analyst, anchorman, radio journalist, publisher, and translator
Tamara Musakhanov (1924–2014), Soviet sculptor and ceramist
Mushail Mushailov (1941–2007), Soviet/Russian artist and teacher
God Nisanov, Russian businessman, entrepreneur and real estate magnate
Iosif Prigozhin, Russian music producer, winner of the 1998 Ovation award in the category Producer of the Year
Lior Refaelov, Israeli football player
Zoya Semenduyeva (1929–2020), Soviet and Israeli poet
Robert Tiviaev, Israeli politician, current member of the Knesset
Israel Tsvaygenbaum, Russian-American artist (Ashkenazi Jewish father, Mountain Jewish mother)
Vladimir Yakubov, Soviet mathematician
Yaffa Yarkoni (1925–2012), Israeli singer, winner of the Israel Prize in 1998
Anatoly Yagudaev (1935–2014), sculptor. He held an honorary title of People's Artist of the Russian Federation
, Vice-President of the East-Asian Jewish Congress, Vice-President of the World Congress of Mountain Jews, President of the STMEGI International Charitable Foundation
Semen (Zalman) Ikhiilovich Divilov (1914–1988), economist, member of the board of the State Planning Committee of Azerbaijan 1952–1982
Zhasmin (née Sara Manakimovna), Russian pop-singer, winner of numerous music awards, including the Golden Gramophone Award (2000, 2001, 2003—2005, 2012—2015), Ovation (2000) and MTV Russia Music Awards (2005)
Gallery
See also
Mountain Jews in Israel
Israel-Azerbaijan relations
Qırmızı Qəsəbə, the primary settlement of Azerbaijan's population of Mountain Jews (3600).
Khazars
History of the Jews in Azerbaijan
World Congress of Mountain Jews
References
Further reading
External links
juhuro.com, website created by Vadim Alhasov in 2001. Daily updates reflect the life of Mountain Jewish (juhuro) community around the globe.
newfront.us, New Frontier is a monthly Mountain Jewish newspaper, founded in 2003. International circulation via its web site.
keshev-k.com, Israeli website of Mountain Jews
gorskie.ru, Mountain Jews, website in Russian language
"Judæo-Tat", Ethnologue
Jews
Jewish ethnic groups
Iranian Jews
Mizrahi Jews
Jews and Judaism in Persia and Iran
Jews
Mountain
Hill people
Ethnic groups in the Middle East | true | [
"World Congress of Mountain Jews (WCMJ) is an active, international non-governmental organization that provides opportunities for Mountain Jews, who are dispersed worldwide. WCMJ seeks to bring together the Mountain Jew population to maintain and share traditions and cultural values through cooperation with international society. The organisation plays an integral cultural role for Mountain Jews globally, through official representation of their interests – which includes engagement with governmental and social bodies. It brings together the mountain Jews of Israel, United States, Russia, Canada, Azerbaijan, Germany, Austria, Georgia, Kazakhstan, and other countries.\n\nSince 2017, the WCMJ has a separated consulting statute at the United Nations Economic and Social Council (ECOSOC).\n\nHistory \nIn 1996, the Moscow-based philanthropist Tair Ghilalovich Gurshumov established the foundation for the preservation and development of the mountain-Jewish culture and laid the first stone for the construction of a synagogue in Tirat Carmel, Israel. He decided to build a synagogue in honor of his mother Mirvori bat Hastil, but was unable to complete it before his own death. In memory of him, his sons Zaur and Akif Gilalov created an international fund for the preservation and development of mountain-Jewish culture and built a synagogue, naming it \"Beit Talhum\", after their father. On the eve of the congress, a synagogue was opened with the introduction of the Torah Scrolls. The guests of honor were the mayor of Tirat Carmel, the former Sephardi Chief Rabbi of Israel, Eliyahu Bakshi-Doron, and the delegates to the congress.\n\nWCMJ was established at the first constituent congress, held on 5–7 February 2003 in Tel Aviv, Israel, by businessman and public figure Zaur Gilalov, who made significant efforts to rally the mountain Jews communities around the world, continuing the work of his father.\n\nThe WCMJ's founders include: the Euro-Asian Jewish Congress (EAJC), the Federation of Jewish Organizations and Communities – Vaad of Russia, the Congress of the Jewish Religious Organizations and Associations in Russia (CJROAR), the Russian Foundation for the Preservation and Development of Jewish Culture, the Association of Caucasian Jews in Israel, the Moscow Jewish religious community (MJRC), the Moscow community of mountain Jews \"Beit Talkhum\", the community of mountain Jews of Pyatigorsk, Nalchik and Derbent (Russia), Baku and Quba (Azerbaijan), New York and Toronto, and other Jewish organizations.\n\nIn November 2003, Zaur Gilalov, having the mandate of the President of the WCMJ, made his first official visit to the White House and met with representatives of the American administration and with the President of the Council of the Largest Jewish Organizations of America, Ronald Lauder.\n\nOn March 5, Zaur Gilalov was killed in Moscow. After his brother's death, Akif Gilalov became chairman.\n\nMission \nThe mission of the Congress is to strengthen the links among the mountain Jews living in different countries and with all nations and progressive social organizations interested in strengthening peace, tolerance, progress, and cultural and humanitarian development.\n\nGoals\nThe WCMJ's declared objective is to establish a single organization under the auspices of which its interests can be declared to the world.\n\nActivity\nOn November 13, 2003, Zaur Gilalov chaired the meeting of the Board of the WCMJ in New York. Members of the New York Mountain Jew Community – Iacov Abramov, Robert Azariev, Liuba Iusufova, the editor of the city's community newspaper \"New Frontier\" Norbert Evdaev, the Rabbi Yosef Elyashev, businessman Mikhail Davydov – reported on the work of the regional American branch. The religious part of New York's Mountain Jew Community built its own synagogue. For the first time in the history of the US mountain Jew community, Erik Yavdaev, a UN official, organized the release of a community calendar, taking into account the traditions of the mountain Jews. On behalf of the World Forum of Russian-Speaking Jewry (WFRJ), whose co-founders were a number of mountain-Jew organizations from different countries, the Chairman Zaur Gilalov and the participants of the meeting were welcomed by Mikhail Nemirovsky, chairman of the WCMJ's coordinating council. With the WFRJ's support, the International Conference of the Mountain Rabbis (ICMR) was established. The first (founding) congress of the ICMR was held on July 20–24, 2003 in Jerusalem at the Sheraton Jerusalem Plaza hotel. Among the nearly 150 congress participants were not only the well-known rabbis of Israel – Rav Yitzchak Zilber, Rav Shmuel Oerbah, Rav Yaakov Sofer, Rav Elbaz, Rav Bakshi Doron, Rav Jonah Metzger, but also young rabbis, yeshiva students and representatives of Russian, Azerbaijan, Kazakhstan, USA, Israel and Georgia communities.\n\nOn January 22, 2004, under the auspices of the WFRJ, a conference was held at Bar-Ilan University in Tel Aviv, which was attended by the same people who were at the first congress. Organizational work was led by the chairman of the international relations committee of the WCMJ and by the representative of the Israel Caucasian Jews Forum, Yakov Bar-Shimon. The Sephardic Rabbi of Israel, Shlom Amaar, spoke at the conference.\n\nOn November 23, 2017, a reception was held at the UN Information Center in Moscow, dedicated to the special consultative statute achieved at the UN Economic and Social Council by the WFRJ. As a result, the WFRJ gained international recognition, entering a new stage of its development and thereby gaining the opportunity to participate at the international level in the discussion on such relevant topics as respect for human rights and freedoms.\n\nOn February 19, 2018, in Jerusalem, an official meeting was held between the Prime Minister of Israel, Benjamin Netanyahu, and the head of the WFRJ, Akif Gilalov. The meeting was dedicated mainly to the activities of the Congress and its further development. The construction in Moscow of the Cultural and Community Center of Sephardic Jews of Russia was also discussed. At the same time, official meetings were held with the Chairman of the Knesset (Israeli Parliament), Yuli Edelstein, and the Minister for Jerusalem's Affairs, Zeev Elkin, where the WFRJ's activities were also discussed.\n\nOn October 9, 2018, an evening dedicated to the presentation of the book \"History and Culture of Mountain Jews\" was held in the building of the Moscow Government, with the assistance of the World Congress of Mountain Jews (WCMJ) and the Federal Agency for Nationalities Affairs.\n\nOn November 5, 2018, at the Vatican, Pope Francis held a personal meeting with the WCRJ's delegation headed by Akif Tairovich Gilalov. As reported, the pontiff supported and blessed the initiative of convening the Council of the Heads of Monoreligions, which was proposed by Akif Tairovich Gilalov, the head of the WCMJ.\n\nOn November 19, 2018, the ceremony of the \"Person of the Year 2018\" awards was held in Jerusalem. The event was organized by WCMJ together with the All-Israel Association of Mountain Jews.\n\nOn December 13, 2018, a WCMJ presentation was held at the United Nations headquarters in New York, USA. The participants, representatives of the world mountain-Jewish community, international Jewish societies, members of the US Congress and of the American establishment, were presented as a gift the book \"Mountain Jews\", a fundamental study on the 600 years development of the history and culture of the Mountain Jews.\n\nCooperation\nOn May 23, 2018, Eric Solheim, Executive Director of the United Nations Environment Program (UNEP), and Akif Gilalov, head of the WCMJ and owner of the Russian Fairs company, signed a Memorandum of Understanding aimed at promoting sustainable consumption and production and sustainable living and the development of industrial and agricultural fairs in 85 regions of Russia. The signing ceremony of the memorandum was held at the UN House in Moscow.\n\nOn May 27, 2019, Bruno Pozzi, Director of the European Office of the UNEP, and Akif Gilalov, Head of the WCMJ, signed a Memorandum of Understanding aimed at implementing the Sustainable Development Goals (SDGs). The UN, in particular, in the areas of quality education, sustainable consumption and production, helping to build a peaceful and open society for sustainable development and creation of effective, accountable and participatory institutions at all levels and building partnerships for sustainable development.\n\nSee also\n History of the Jews in Azerbaijan\n Qırmızı Qəsəbə\n Mountain Jews in Israel\n\nReferences\n\nCaucasus Jews\nMountain Jews\nAzerbaijani Jews\nJews and Judaism in Persia and Iran\nJewish organizations based in Israel",
"Georgian Jews in Israel, also known as Gruzinim (From Hebrew גרוזינים Gruzínim, meaning Georgians), are immigrants and descendants of the immigrants of the Georgian Jewish communities, who now reside within the state of Israel. They number around 75,000 to 80,000.\n\nHistory\n\nOttoman period\nThe Georgian Jews have traditionally lived separately, not only from the surrounding Georgian people, but also from the Ashkenazi Jews in Tbilisi, who had different practices and language.\n\nBeginning in 1863, groups of Jews began making aliyah, mostly for religious reasons. By 1916, 439 Georgian Jews lived in Mutasarrifate of Jerusalem, mostly in Jerusalem city near the Damascus Gate. Most Georgian Jews who made aliyah were poor and worked as freight-handlers in Jerusalem.\n\nIsraeli period\nAfter the Six-Day War, huge numbers of Soviet Jews began protesting for the right to immigrate to Israel, and many applied for exit visas. Georgian Jews made up a large percentage of this number. They were among the first to begin protesting, and were among the most militant of campaigners. In August 1969, eighteen families wrote to the Human Rights Commission of the United Nations demanding permission to make aliyah. This was the first public insistence by Soviet Jews for immigration to Israel. The Israeli government and the Jewish world campaigned heavily on behalf of the plight of the Soviet Jewry. In July 1971, a group of Georgian Jews went on a hunger strike outside a Moscow post office. The determination of Soviet Jewish activists and international pressure led the Soviets to lessen their harsh anti-Jewish policies. During the 1970s, the Soviets permitted limited Jewish emigration to Israel, and about 30,000 Georgian Jews made aliyah, with thousands of others leaving for other countries. Approximately 17% of the Soviet Jewish population emigrated at this time. In 1979, the Jewish population in Georgia was 28,300 and, by 1989, it had decreased to 24,800. Thus, the community, which had numbered about 80,000 as recently as the 1970s, largely emigrated to Israel.\n\nWhile most Soviet Jewish emigration was individual, Georgian Jewish emigration was communal. Due to Georgian Jewish traditions of strong, extended families and the strict, patriarchal nature of Georgian Jewish families, Georgian Jews immigrated as whole communities, with emigration of individuals causing a chain reaction leading to more emigration, and brought their community structures with them. For example, nearly the entire Jewish population of at least two Georgian towns made aliyah. At the time the emigration started, Israel had a policy of scattering the population around the country, and was experiencing a housing shortage, with the result that Georgian Jews were assigned housing in different parts of the country. The Georgian Jews began demanding that they be concentrated together, and the crisis reached a fever pitch when several families threatened to return to Georgia, and new immigrants, forewarned by predecessors, began demanding to be placed in specific areas upon arrival. Although Prime Minister Golda Meir criticized the Georgian Jews' desire to \"isolate themselves into ghettos\", the Israeli Immigrant Absorption Ministry eventually bowed to their demands, and began to create concentrations of around 200 families in twelve areas of the country.\n\nIn Israel, Georgian Jewish immigrants successfully integrated into society, but faced certain problems. Georgian Jewish immigrants were usually able to find jobs with ease, and often worked in light industry jobs, such as dock workers, porters, and construction workers, but faced certain issues. One major issue was religion; the Georgian Jews were often devout and had fiercely clung to their traditions in the Soviet Union, and were stunned to discover that Israeli Jews were mostly secular. As a result, Georgian Jewish immigrants demanded their own separate synagogues to continue their unique religious traditions, which the government agreed to, and enrolled their children in religious schools rather than regular schools.\n\nIn Israel, most Georgian Jews settled near the coast in cities such as Lod, Bat Yam, Ashdod, Holon and Rehovot. There are Georgian Jews in Jerusalem as well, with several prominent synagogues.\n\nNotable people\n Yitzhak Gagula\n Efraim Gur\n Haim Megrelashvili\n Moran Mazor\n Avraham Michaeli\n Tzipi Hotovely\n\nSee also\n History of the Jews in Georgia\n Mountain Jews\n Iranian Jews in Israel\n Jewish ethnic divisions\n Georgia–Israel relations\n\nReferences\n\nGeorgia (country)–Israel relations\n \nIsraeli Jews by national origin\n \nIsraeli Mizrahi Jews"
]
|
[
"Mountain Jews",
"Religion",
"What Religion do Mountain Jews follow",
"Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.",
"Do they have any specific rituals related to this worship?",
"While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully.",
"Which precepts were not as strictly followed?",
"I don't know.",
"What other traditions were closely followed as a result of this religious background",
"I don't know.",
"What was noteable about the religious traditions of the Mountain Jews",
"The community's ethnic identity remained unshaken despite the Soviet efforts."
]
| C_65871370da554ea89ac79105bcc5beaf_1 | Did the soviet union try to dissuade the religion of the mountain Jews? | 6 | Did the soviet union try to dissuade the religion of the mountain Jews? | Mountain Jews | Mountain Jews are considered, by some, to be of Sephardic lineage; this however is a misnomer as they are neither Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Germany and Eastern-Europe) but rather come directly by way of Persia. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders. The religious survival of the community was not without difficulties. In the prosperous days of Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gerhson Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent. Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qirmizi Q@s@b@ Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 40's. The closing of the synagogues in the 30's was part of communist ideology, which resisted religion of any kind. At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation. CANNOTANSWER | By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. | Mountain Jews or Caucasus Jews also known as Juhuro, Juvuro, Juhuri, Juwuri, Juhurim, Kavkazi Jews or Gorsky Jews ( Yehudey Kavkaz or Yehudey he-Harim; , ) are Jews of the eastern and northern Caucasus, mainly Azerbaijan, and various republics in the Russian Federation: Chechnya, Ingushetia, Dagestan, Karachay-Cherkessia, and Kabardino-Balkaria.
Mountain Jews are the descendants of Persian Jews from Iran. The Mountain Jews took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire as part of the Treaty of Gulistan of 1813.
The Mountain Jews community became established in Ancient Persia, from the 5th century BCE onwards; their language, called Judeo-Tat, is an ancient Southwest Iranian language which integrates many elements of Ancient Hebrew.
It is believed that they had reached Persia from Ancient Israel as early as the 8th century BCE. They continued to migrate east, settling in mountainous areas of the Caucasus. The Mountain Jews survived numerous historical vicissitudes by settling in extremely remote and mountainous areas. They were known to be accomplished warriors and horseback riders.
The main Mountain Jewish settlement in Azerbaijan is Qırmızı Qəsəbə, also called Jerusalem of the Caucasus. In Russian, Qırmızı Qəsəbə was once called Еврейская Слобода (translit. Yevreyskaya Sloboda), "Jewish Village"; but during Soviet times it was renamed Красная Слобода (translit. Krasnaya Sloboda), "Red Village."
Mountain Jews are distinct from Georgian Jews of the Caucasus Mountains. The two groups are culturally different, speaking different languages and having many differences in customs and culture. Mountain Jews are a part of the Mizrahi Jewish communities.
History
Early history
The Mountain Jews, or Jews of the Caucasus, have inhabited the Caucasus since the fifth century CE. Being the descendants of the Persian Jews of Iran, their migration from Persia proper to the Caucasus took place in the Sasanian era (224-651). It is believed that they had arrived in Persia, from Ancient Israel, as early as the 8th century BCE Other sources, attest that Mountain Jews were present in the region of Azerbaijan, at least since 457 BCE However, the Mountain Jews only took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire per the Treaty of Gulistan of 1813.
Mountain Jews have an oral tradition, passed down generation after generation, that they are descended from the Ten Lost Tribes which were exiled by the king of Assyria (Ashur), who ruled over northern Iraq from Mosul (across the Tigris River from the ancient city of Nineveh). The reference, most likely is to Shalmaneser, the King of Assyria who is mentioned in II Kings 18:9-12. According to local Jewish tradition, some 19,000 Jews departed Jerusalem (used here as a generic term for the Land of Israel) and passed through Syria, Babylonia, and Persia and then, heading north, entered into Media.
In Chechnya, Mountain Jews partially assimilated into Chechen society by forming a Jewish teip, the Zhugtii while three other teips, the Shuonoi, Ziloi and Chartoi have also been theorized to have Jewish relations. In Chechen society, ethnic minorities residing in areas demographically dominated by Chechens have the option of forming a teip in order to properly participate in the developments of Chechen society such as making alliances and gaining representation in the Mekhk Khell, a supreme ethnonational council that is occasionally compared to a parliament. Teips of minority-origin have also been made by ethnic Poles, Germans, Georgians, Armenians, Kumyks, Russians, Kalmyks, Circassians, Andis, Avars, Dargins, Laks, Persians, Arabs, Ukrainians and Nogais, with the German teip having been formed as recently as the 1940s when Germans in Siberian exile living among Chechens assimilated.
Mountain Jews maintained a strong military tradition. For this reason, some historians believe they may be descended from Jewish military colonists, settled by Parthian and Sassanid rulers in the Caucasus as frontier guards against nomadic incursions from the Pontic steppe.
A 2002 study by geneticist Dror Rosengarten found that the paternal haplotypes of Mountain Jews "were shared with other Jewish communities and were consistent with a Mediterranean origin." In addition, Y-DNA testing of Mountain Jews has shown they have Y-DNA haplotypes related to those of other Jewish communities. The Semitic origin of Mountain Jews is also evident in their culture and language.
"The Jewish Valley"
By the early 17th century, Mountain Jews formed many small settlements throughout mountain valleys of Dagestan. One valley, located 10 km south of Derbent, close to the shore of the Caspian Sea, was predominantly populated by Mountain Jews. Their Muslim neighbors called this area "Jewish Valley." The Jewish Valley grew to be a semi-independent Jewish state, with its spiritual and political center located in its largest settlement of Aba-Sava (1630-1800). The valley prospered until the end of the 18th century, when its settlements were brutally destroyed in the war between Sheikh-Ali-Khan, who swore loyalty to the Russian Empire, and Surkhai-Khan, the ruler of Kumukh. Many Mountain Jews were slaughtered, with survivors escaping to Derbent where they received the protection of Fatali Khan, the ruler of Quba Khanate.
In the 18th–19th centuries, the Jews resettled from the highland to the coastal lowlands but carried the name "Mountain Jews" with them. In the villages (aouls), the Mountain Jews had settled in separate sections. In the lowland towns they also lived in concentrated neighborhoods, but their dwellings did not differ from those of their neighbors. Mountain Jews retained the dress of the highlanders. They have continued to follow Jewish dietary laws and affirm their faith in family life. In 1902, The New York Times reported that clans of natives undoubtedly of Jewish origin, who maintain many of the customs and the principal forms of religious worship of their ancestors, were discovered in the remote regions of Eastern Caucasus.
Soviet times, Holocaust and modern history
By 1926, more than 85% of Mountain Jews in Dagestan were already classed as urban. Mountain Jews were mainly concentrated in the cities of Makhachkala, Buynaksk, Derbent, Nalchik and Grozny in North Caucasus; and Quba and Baku in Azerbaijan.
In the Second World War, some Mountain Jews settlements in North Caucasus, including parts of their area in Kabardino-Balkaria were occupied by the German Wehrmacht at the end of 1942. During this period, they killed several hundreds of Mountain Jews until the Germans retreated early 1943. On September 20, 1942, Germans killed 420 Mountain Jews near the village of Bogdanovka. Some 1000–1500 Mountain Jews were murdered during the Holocaust. Many Mountain Jews survived, however, because German troops did not reach all their areas; in addition, attempts succeeded to convince local German authorities that this group were "religious" but not "racial" Jews.
The Soviet Army's advances in the area brought the Nalchik community under its protection. The Mountain Jewish community of Nalchik was the largest Mountain Jewish community occupied by Nazis, and the vast majority of the population has survived. With the help of their Kabardian neighbors, Mountain Jews of Nalchik convinced the local German authorities that they were Tats, the native people similar to other Caucasus Mountain peoples, not related to the ethnic Jews, who merely adopted Judaism. The annihilation of the Mountain Jews was suspended, contingent on racial investigation. Although the Nazis watched the village carefully, Rabbi Nachamil ben Hizkiyahu hid Sefer Torahs by burying them in a fake burial ceremony. The city was liberated a few months later.
In 1944, the NKVD deported the entire Chechen populace that surrounded the Mountain Jews in Chechnya, and moved other ethnic groups into their homes; Mountain Jews mostly refused to take the homes of deported Chechens while there are some reports of deported Chechens entrusting their homes to Jews in order to keep them safe.
Given the marked changes in the 1990s following the dissolution of the Soviet Union and rise of nationalism in the region, many Mountain Jews permanently left their hometowns in the Caucasus and relocated to Moscow or abroad. During the First Chechen War, many Jews left due to the Russian invasion and indiscriminate bombardment of civilian population by the Russian military. Despite historically close relations between Jews and Chechens, many also suffered high rate of kidnappings and violence at the hands of armed ethnic Chechen gangs who ransomed their freedom to "Israel and the international Jewish community". Many Mountain Jews emigrated to Israel or the United States. Qırmızı Qəsəbə in Azerbaijan remains the biggest settlement of Mountain Jews in the world, with the current population over 3,000.
Economy
While elsewhere in the Russian Empire, Jews were prohibited from owning land (excluding the Jews of Siberia and Central Asia), at the end of the 19th and the beginning of the 20th century, the Mountain Jews owned land and were farmers and gardeners, growing mainly grain. Their oldest occupation was rice-growing, but they also raised silkworms and cultivated tobacco. The Jewish vineyards were especially notable. The Jews and their Christian Armenian neighbors were the main producers of wine, as Muslims were prohibited by their religion from producing or consuming alcohol. Judaism, in turn, limited some types of meat consumption. Unlike their neighbors, the Jews raised few domestic animals. At the same time, they were renowned tanners. Tanning was their third most important economic activity after farming and gardening. At the end of the 19th century, 6% of Jews were engaged in this trade. Handicrafts and commerce were mostly practiced by Jews in towns.
The Soviet authorities bound the Mountain Jews to collective farms, but allowed them to continue their traditional cultivation of grapes, tobacco, and vegetables; and making wine. In practical terms, the Jews are no longer isolated from other ethnic groups.
With increasing urbanization and sovietization in progress, by the 1930s, a layer of intelligentsia began to form. By the late 1960s, academic professionals, such as pharmacists, medical doctors, and engineers, were quite common among the community. Mountain Jews worked in more professional positions than did Georgian Jews, though less than the Soviet Ashkenazi community, who were based in larger cities of Russia. A sizable number of Mountain Jewish worked in the entertainment industry in Dagestan. The republic's dancing ensemble "Lezginka" was led by Tankho Israilov, a Mountain Jew, for twenty one years (1958–79).
Religion
Mountain Jews are not Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Central Europe) but rather of Persian Jewish origin, and they follow some Mizrachi customs. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.
Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders.
The religious survival of the community was not without difficulties. In the prosperous days of the Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gershon Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent.
Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qırmızı Qəsəbə Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 1940s. The closing of the synagogues in the 1930s was part of communist ideology, which resisted religion of any kind.
At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation.
Educational institutions, language, literature
Mountain Jews speak Judeo-Tat, also called Juhuri, a form of Persian; it belongs to the southwestern group of the Iranian division of the Indo-European languages. Judeo-Tat has Semitic (Hebrew/Aramaic/Arabic) elements on all linguistic levels. Among other Semitic elements, Judeo-Tat has the Hebrew sound "ayin" (ע), whereas no neighboring languages have it. Until the early Soviet period, the language was written with semi-cursive Hebrew alphabet. Later, Judeo-Tat books, newspapers, textbooks, and other materials were printed with a Latin alphabet and finally in Cyrillic, which is still most common today. The first Judeo-Tat-language newspaper, Zakhmetkesh (Working People), was published in 1928 and operated until the second half of the twentieth century.
Originally, only boys were educated through synagogue schools. Starting from the 1860s, many well-off families switched to home-schooling, hiring private tutors, who taught their sons not only Hebrew, but also Russian and Yiddish. In the early 20th century, with advance of sovietization, Judeo-Tat became the language of instruction at newly founded elementary schools attended by both Mountain Jewish boys and girls. This policy continued until the beginning of World War II, when schools switched to Russian as the central government emphasized acquisition of Russian as the official language of the Soviet Union.
The Mountain Jewish community has had notable figures in public health, education, culture, and art.
In the 21st century, the government is encouraging the cultural life of minorities. In Dagestan and Kabardino-Balkaria, Judeo-Tat and Hebrew courses have been introduced in traditionally Mountain Jewish schools. In Dagestan, there is support for the revival of the Judeo-Tat-language theater and the publication of newspapers in that language.
Culture
Military tradition
And we, the Tats
We, Samson warriors,
Bar Kochba's heirs...
we went into battles
and bitterly, heroically
struggled for our freedom
"The Song of the Mountain Jews"
Mountain Jews are known for their military tradition and have been historically viewed as fierce warriors. Some historians suggest that the group traces its beginnings to Persian-Jewish soldiers who were stationed in the Caucasus by the Sasanian kings in the fifth or sixth century to protect the area from the onslaughts of the Huns and other nomadic invaders from the east. Men were typically heavily armed and some slept without removing their weapons.
Dress
Over time the Mountain Jews adopted the dress of their Muslim neighbors. Men typically wore chokhas and covered their head with papakhas, many variations of which could symbolize the men's social status. Wealthier men's dress was adorned with many pieces of jewelry, including silver and gold-decorated weaponry, pins, chains, belts, or kisets (small purse used to hold tobacco or coins). Women's dress was typically of simpler design in dark tones, made from silk, brocade, velvet, satin and later wool. They decorated the fabric with beads, gold pins or buttons, and silver gold-plated belts. Outside the house, both single and married women covered their hair with headscarves.
Cuisine
Mountain Jewish cuisine absorbed typical dishes from various peoples of the Caucasus, Azerbaijani and Persian cuisine, adjusting some recipes to conform to the laws of kashrut. Typical Mountain Jewish dishes include chudu (a type of meat pie), shashlik, dolma, kurze or dushpare, yarpagi, khinkali, tara (herb stew with pieces of meat), nermov (chicken or other meat stew with wheat and beans), plov (pilaf), buglame (curry like stew of fish or chicken eaten with rice (osh)), etc. Jewish holidays-themed dishes include Eshkene, a Persian soup, prepared for Passover, and a variety of hoshalevo (honey-based treats made with sunflower seeds or walnuts) typically prepared for Purim.
Music
The music of Mountain Jews is mostly based in the standard liturgy, for prayer and the celebration of holidays. Celebratory music played during weddings and similar events is typically upbeat with various instruments to add layers to the sound.
Notable Mountain Jews
Omer Adam, Israeli singer
Udi Adam, Israeli general and the former head of the Israeli Northern Command
Yekutiel Adam (1927–1982), Israeli general and former Deputy Chief of Staff of the Israeli Defense Forces
Albert Agarunov (1969–1992), the National Hero of Azerbaijan, starshina of the Azerbaijani Army who died during the First Nagorno-Karabakh War
Yakov Agarunov (1907–1992), Soviet poet and playwright
Eduard Akuvaev (1945–2015), Soviet/Russian artist and teacher
Daniil Atnilov (1913–1968), Soviet poet
Manuvakh Dadashev (1913–1943), Soviet poet
Mishi Bakhshiev (1910–1972), Soviet writer and poet
Astrix, producer of Trance music
Hizgil Avshalumov (1913–2001), novelist, poet and playwright
Izi Davidov, major philanthropist during Soviet times, donated from his personal wealth to a multitude of people across the Caucasus, born in Krasnaya Sloboda (Gilgoti quarter)
Ilona Davidova, Russian-American entrepreneur, linguist, author, developer of novel high-speed technique for studying English
Mark Eliyahu, Israeli kamancheh player, born in Dagestan
Boris Gavrilov (1908–1990), Soviet writer and poet
Mikhail Gavrilov (1926–2014), Soviet writer and poet
Sarit Hadad, Israeli singer
Zarakh Iliev, Russian businessman, entrepreneur and real estate magnate
Gavril Abramovich Ilizarov (1921–1992), Soviet physician, known for inventing the Ilizarov apparatus for lengthening limb bones and for his eponymous surgery (Mountain Jewish father, Ashkenazi Jewish mother)
Telman Ismailov, businessman and entrepreneur, owner of AST group
Tankho Israelov (1917–1981), dancer, choreographer
Sergey Izgiyayev (1922–1972), author, translator, and songwriter
Mirza Khazar (1947–2020), Azerbaijani author, political analyst, anchorman, radio journalist, publisher, and translator
Tamara Musakhanov (1924–2014), Soviet sculptor and ceramist
Mushail Mushailov (1941–2007), Soviet/Russian artist and teacher
God Nisanov, Russian businessman, entrepreneur and real estate magnate
Iosif Prigozhin, Russian music producer, winner of the 1998 Ovation award in the category Producer of the Year
Lior Refaelov, Israeli football player
Zoya Semenduyeva (1929–2020), Soviet and Israeli poet
Robert Tiviaev, Israeli politician, current member of the Knesset
Israel Tsvaygenbaum, Russian-American artist (Ashkenazi Jewish father, Mountain Jewish mother)
Vladimir Yakubov, Soviet mathematician
Yaffa Yarkoni (1925–2012), Israeli singer, winner of the Israel Prize in 1998
Anatoly Yagudaev (1935–2014), sculptor. He held an honorary title of People's Artist of the Russian Federation
, Vice-President of the East-Asian Jewish Congress, Vice-President of the World Congress of Mountain Jews, President of the STMEGI International Charitable Foundation
Semen (Zalman) Ikhiilovich Divilov (1914–1988), economist, member of the board of the State Planning Committee of Azerbaijan 1952–1982
Zhasmin (née Sara Manakimovna), Russian pop-singer, winner of numerous music awards, including the Golden Gramophone Award (2000, 2001, 2003—2005, 2012—2015), Ovation (2000) and MTV Russia Music Awards (2005)
Gallery
See also
Mountain Jews in Israel
Israel-Azerbaijan relations
Qırmızı Qəsəbə, the primary settlement of Azerbaijan's population of Mountain Jews (3600).
Khazars
History of the Jews in Azerbaijan
World Congress of Mountain Jews
References
Further reading
External links
juhuro.com, website created by Vadim Alhasov in 2001. Daily updates reflect the life of Mountain Jewish (juhuro) community around the globe.
newfront.us, New Frontier is a monthly Mountain Jewish newspaper, founded in 2003. International circulation via its web site.
keshev-k.com, Israeli website of Mountain Jews
gorskie.ru, Mountain Jews, website in Russian language
"Judæo-Tat", Ethnologue
Jews
Jewish ethnic groups
Iranian Jews
Mizrahi Jews
Jews and Judaism in Persia and Iran
Jews
Mountain
Hill people
Ethnic groups in the Middle East | true | [
"Mountain Jews in Israel, also known as the Juhurim, refers to immigrants and descendants of the immigrants of the Mountain Jewish communities, who now reside within the state of Israel. Mountain Jews descent in Israel are considered part of the Mizrahim.\n\nHistory\nEven before the advent of Zionism, the Juhurim had a desire to return to Zion, which many did in the 1840s and 1850s.\n\nFirst wave of emigration: 1881–1947\nMountain Jews were among the first to make Aliyah, with some immigrating independent of the Zionist movement, while others came inspired by it. They were represented at the Zionist congresses and the first Mountain Jewish settlers in Ottoman Syria established the modern Israeli town of Be'er Ya'akov in 1907. In the early 1920s, Baku became one of the centres of the Jewish national movement, and Zionist newspapers were published in Juhuri.\n\n1948–1970s\nThe Mountain Jews living in the Soviet Union celebrated the creation of the State of Israel loudly and proudly, which led to repression by Soviet authorities. Many were arrested and imprisoned for engaging in \"anti-Soviet propaganda.\" The Six-Day War resulted in an eruption of Jewish patriotism among Mountain Jews, although the broader Zionist awakening didn't take place until the early 1970s. It was then when over 10,000 Mountain Jews (about a quarter of the population) emigrated to Israel.\n\n1990s–present\nFollowing the dissolution of the Soviet Union, thousands of Mountain Jews moved to Israel. During the First Chechen War, some left due to the violence. Despite the usual close relations between Jews and Chechens, many were kidnapped by Chechen gangs who ransomed their freedom to \"the international Jewish community.\"\n\nNotable people\nYekutiel Adam\nUdi Adam\nYafa Yarkoni\nSarit Hadad\nLior Refaelov\nOmer Adam\nAstrix\nEli Babayev\n\nSee also\n Mountain Jews\n Aliyah\n Iranian Jews in Israel\n Georgian Jews in Israel\n 1970s Soviet Union aliyah\n 1990s Post-Soviet aliyah\n Azerbaijan–Israel relations\n\nSources\n\n \n\nIsraeli people of Caucasus descent\n \nIsraeli Jews by region\nAzerbaijan–Israel relations\nIsraeli Mizrahi Jews",
"The Bay Area Council for Soviet Jews (BACSJ) was founded in 1967 by Harold B. Light, Edward Tamler, Sidney Kluger, and Rabbi Moris Hershman as a grassroots human rights organization with a mission to advocate for Soviet Jewry's freedom of religion and the right to emigrate to Israel. BACSJ was one of the largest and most active local grassroots organizations in the American Soviet Jewry movement. BACSJ was a member of the Union of Councils for Soviet Jews (UCSJ), an umbrella institution for approximately 50 organizations working on behalf of Jews in the USSR. After the fall of the Soviet Union BACSJ was renamed Bay Area Council for Jewish Rescue and Renewal and shifted its focus to monitoring the human rights conditions in countries throughout Eastern Europe and Central Asia and assisting former Soviet Jewish communities in need.\n\nActivities \nActivities of the BACSJ included monitoring and reporting the conditions of Jews in the USSR, organizing protest demonstrations in front of the Soviet consulate in San Francisco, vigils and other events on behalf of Soviet Jewry, visiting and delivering spiritual and material aid to Soviet Jewish Refuseniks and Prisoners of Conscience, maintaining community-wide letter-writing and phone call campaigns, assisting recent émigrés from USSR and keeping elected officials representing Bay Area informed and involved in the movement to help Soviet Jews. In the early 1990s Bay Area Council for Jewish Rescue and Renewal helped the Union of Councils for Soviet Jews to establish human rights bureaus in the Former Soviet Union to support and protect Jews and other religious and national minorities.\n\nLeadership \nMorey Schapira was president of the Bay Area Council for Soviet Jews in 1979 to 1984, and from 1984 to 1986, served as national president of its parent organization—Union of Councils for Soviet Jews. David Waksberg led the organization from the mid-1980s to early 1990s, simultaneously holding leadership positions in the UCSJ.\n\nFootnotes\n\nExternal links \n Records of the Bay Area Council for Soviet Jews at the American Jewish Historical Society.\n Records of the Union of Councils for Soviet Jews at the American Jewish Historical Society.\n Papers of David Waksberg at the American Jewish Historical Society.\n \n\nHuman rights organizations based in the United States\nJewish political organizations\nOrganizations established in 1967"
]
|
[
"Mountain Jews",
"Religion",
"What Religion do Mountain Jews follow",
"Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.",
"Do they have any specific rituals related to this worship?",
"While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully.",
"Which precepts were not as strictly followed?",
"I don't know.",
"What other traditions were closely followed as a result of this religious background",
"I don't know.",
"What was noteable about the religious traditions of the Mountain Jews",
"The community's ethnic identity remained unshaken despite the Soviet efforts.",
"Did the soviet union try to dissuade the religion of the mountain Jews?",
"By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities."
]
| C_65871370da554ea89ac79105bcc5beaf_1 | Do the six synagogues still remain today? | 7 | Do the six Mountain Jews synagogues still remain today? | Mountain Jews | Mountain Jews are considered, by some, to be of Sephardic lineage; this however is a misnomer as they are neither Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Germany and Eastern-Europe) but rather come directly by way of Persia. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism. Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders. The religious survival of the community was not without difficulties. In the prosperous days of Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gerhson Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent. Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qirmizi Q@s@b@ Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 40's. The closing of the synagogues in the 30's was part of communist ideology, which resisted religion of any kind. At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation. CANNOTANSWER | CANNOTANSWER | Mountain Jews or Caucasus Jews also known as Juhuro, Juvuro, Juhuri, Juwuri, Juhurim, Kavkazi Jews or Gorsky Jews ( Yehudey Kavkaz or Yehudey he-Harim; , ) are Jews of the eastern and northern Caucasus, mainly Azerbaijan, and various republics in the Russian Federation: Chechnya, Ingushetia, Dagestan, Karachay-Cherkessia, and Kabardino-Balkaria.
Mountain Jews are the descendants of Persian Jews from Iran. The Mountain Jews took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire as part of the Treaty of Gulistan of 1813.
The Mountain Jews community became established in Ancient Persia, from the 5th century BCE onwards; their language, called Judeo-Tat, is an ancient Southwest Iranian language which integrates many elements of Ancient Hebrew.
It is believed that they had reached Persia from Ancient Israel as early as the 8th century BCE. They continued to migrate east, settling in mountainous areas of the Caucasus. The Mountain Jews survived numerous historical vicissitudes by settling in extremely remote and mountainous areas. They were known to be accomplished warriors and horseback riders.
The main Mountain Jewish settlement in Azerbaijan is Qırmızı Qəsəbə, also called Jerusalem of the Caucasus. In Russian, Qırmızı Qəsəbə was once called Еврейская Слобода (translit. Yevreyskaya Sloboda), "Jewish Village"; but during Soviet times it was renamed Красная Слобода (translit. Krasnaya Sloboda), "Red Village."
Mountain Jews are distinct from Georgian Jews of the Caucasus Mountains. The two groups are culturally different, speaking different languages and having many differences in customs and culture. Mountain Jews are a part of the Mizrahi Jewish communities.
History
Early history
The Mountain Jews, or Jews of the Caucasus, have inhabited the Caucasus since the fifth century CE. Being the descendants of the Persian Jews of Iran, their migration from Persia proper to the Caucasus took place in the Sasanian era (224-651). It is believed that they had arrived in Persia, from Ancient Israel, as early as the 8th century BCE Other sources, attest that Mountain Jews were present in the region of Azerbaijan, at least since 457 BCE However, the Mountain Jews only took shape as a community after Qajar Iran ceded the areas in which they lived to the Russian Empire per the Treaty of Gulistan of 1813.
Mountain Jews have an oral tradition, passed down generation after generation, that they are descended from the Ten Lost Tribes which were exiled by the king of Assyria (Ashur), who ruled over northern Iraq from Mosul (across the Tigris River from the ancient city of Nineveh). The reference, most likely is to Shalmaneser, the King of Assyria who is mentioned in II Kings 18:9-12. According to local Jewish tradition, some 19,000 Jews departed Jerusalem (used here as a generic term for the Land of Israel) and passed through Syria, Babylonia, and Persia and then, heading north, entered into Media.
In Chechnya, Mountain Jews partially assimilated into Chechen society by forming a Jewish teip, the Zhugtii while three other teips, the Shuonoi, Ziloi and Chartoi have also been theorized to have Jewish relations. In Chechen society, ethnic minorities residing in areas demographically dominated by Chechens have the option of forming a teip in order to properly participate in the developments of Chechen society such as making alliances and gaining representation in the Mekhk Khell, a supreme ethnonational council that is occasionally compared to a parliament. Teips of minority-origin have also been made by ethnic Poles, Germans, Georgians, Armenians, Kumyks, Russians, Kalmyks, Circassians, Andis, Avars, Dargins, Laks, Persians, Arabs, Ukrainians and Nogais, with the German teip having been formed as recently as the 1940s when Germans in Siberian exile living among Chechens assimilated.
Mountain Jews maintained a strong military tradition. For this reason, some historians believe they may be descended from Jewish military colonists, settled by Parthian and Sassanid rulers in the Caucasus as frontier guards against nomadic incursions from the Pontic steppe.
A 2002 study by geneticist Dror Rosengarten found that the paternal haplotypes of Mountain Jews "were shared with other Jewish communities and were consistent with a Mediterranean origin." In addition, Y-DNA testing of Mountain Jews has shown they have Y-DNA haplotypes related to those of other Jewish communities. The Semitic origin of Mountain Jews is also evident in their culture and language.
"The Jewish Valley"
By the early 17th century, Mountain Jews formed many small settlements throughout mountain valleys of Dagestan. One valley, located 10 km south of Derbent, close to the shore of the Caspian Sea, was predominantly populated by Mountain Jews. Their Muslim neighbors called this area "Jewish Valley." The Jewish Valley grew to be a semi-independent Jewish state, with its spiritual and political center located in its largest settlement of Aba-Sava (1630-1800). The valley prospered until the end of the 18th century, when its settlements were brutally destroyed in the war between Sheikh-Ali-Khan, who swore loyalty to the Russian Empire, and Surkhai-Khan, the ruler of Kumukh. Many Mountain Jews were slaughtered, with survivors escaping to Derbent where they received the protection of Fatali Khan, the ruler of Quba Khanate.
In the 18th–19th centuries, the Jews resettled from the highland to the coastal lowlands but carried the name "Mountain Jews" with them. In the villages (aouls), the Mountain Jews had settled in separate sections. In the lowland towns they also lived in concentrated neighborhoods, but their dwellings did not differ from those of their neighbors. Mountain Jews retained the dress of the highlanders. They have continued to follow Jewish dietary laws and affirm their faith in family life. In 1902, The New York Times reported that clans of natives undoubtedly of Jewish origin, who maintain many of the customs and the principal forms of religious worship of their ancestors, were discovered in the remote regions of Eastern Caucasus.
Soviet times, Holocaust and modern history
By 1926, more than 85% of Mountain Jews in Dagestan were already classed as urban. Mountain Jews were mainly concentrated in the cities of Makhachkala, Buynaksk, Derbent, Nalchik and Grozny in North Caucasus; and Quba and Baku in Azerbaijan.
In the Second World War, some Mountain Jews settlements in North Caucasus, including parts of their area in Kabardino-Balkaria were occupied by the German Wehrmacht at the end of 1942. During this period, they killed several hundreds of Mountain Jews until the Germans retreated early 1943. On September 20, 1942, Germans killed 420 Mountain Jews near the village of Bogdanovka. Some 1000–1500 Mountain Jews were murdered during the Holocaust. Many Mountain Jews survived, however, because German troops did not reach all their areas; in addition, attempts succeeded to convince local German authorities that this group were "religious" but not "racial" Jews.
The Soviet Army's advances in the area brought the Nalchik community under its protection. The Mountain Jewish community of Nalchik was the largest Mountain Jewish community occupied by Nazis, and the vast majority of the population has survived. With the help of their Kabardian neighbors, Mountain Jews of Nalchik convinced the local German authorities that they were Tats, the native people similar to other Caucasus Mountain peoples, not related to the ethnic Jews, who merely adopted Judaism. The annihilation of the Mountain Jews was suspended, contingent on racial investigation. Although the Nazis watched the village carefully, Rabbi Nachamil ben Hizkiyahu hid Sefer Torahs by burying them in a fake burial ceremony. The city was liberated a few months later.
In 1944, the NKVD deported the entire Chechen populace that surrounded the Mountain Jews in Chechnya, and moved other ethnic groups into their homes; Mountain Jews mostly refused to take the homes of deported Chechens while there are some reports of deported Chechens entrusting their homes to Jews in order to keep them safe.
Given the marked changes in the 1990s following the dissolution of the Soviet Union and rise of nationalism in the region, many Mountain Jews permanently left their hometowns in the Caucasus and relocated to Moscow or abroad. During the First Chechen War, many Jews left due to the Russian invasion and indiscriminate bombardment of civilian population by the Russian military. Despite historically close relations between Jews and Chechens, many also suffered high rate of kidnappings and violence at the hands of armed ethnic Chechen gangs who ransomed their freedom to "Israel and the international Jewish community". Many Mountain Jews emigrated to Israel or the United States. Qırmızı Qəsəbə in Azerbaijan remains the biggest settlement of Mountain Jews in the world, with the current population over 3,000.
Economy
While elsewhere in the Russian Empire, Jews were prohibited from owning land (excluding the Jews of Siberia and Central Asia), at the end of the 19th and the beginning of the 20th century, the Mountain Jews owned land and were farmers and gardeners, growing mainly grain. Their oldest occupation was rice-growing, but they also raised silkworms and cultivated tobacco. The Jewish vineyards were especially notable. The Jews and their Christian Armenian neighbors were the main producers of wine, as Muslims were prohibited by their religion from producing or consuming alcohol. Judaism, in turn, limited some types of meat consumption. Unlike their neighbors, the Jews raised few domestic animals. At the same time, they were renowned tanners. Tanning was their third most important economic activity after farming and gardening. At the end of the 19th century, 6% of Jews were engaged in this trade. Handicrafts and commerce were mostly practiced by Jews in towns.
The Soviet authorities bound the Mountain Jews to collective farms, but allowed them to continue their traditional cultivation of grapes, tobacco, and vegetables; and making wine. In practical terms, the Jews are no longer isolated from other ethnic groups.
With increasing urbanization and sovietization in progress, by the 1930s, a layer of intelligentsia began to form. By the late 1960s, academic professionals, such as pharmacists, medical doctors, and engineers, were quite common among the community. Mountain Jews worked in more professional positions than did Georgian Jews, though less than the Soviet Ashkenazi community, who were based in larger cities of Russia. A sizable number of Mountain Jewish worked in the entertainment industry in Dagestan. The republic's dancing ensemble "Lezginka" was led by Tankho Israilov, a Mountain Jew, for twenty one years (1958–79).
Religion
Mountain Jews are not Sephardim (from the Iberian Peninsula) nor Ashkenazim (from Central Europe) but rather of Persian Jewish origin, and they follow some Mizrachi customs. Mountain Jews tenaciously held to their religion throughout the centuries, developing their own unique traditions and religious practices. Mountain Jewish traditions are infused with teachings of Kabbalah and Jewish mysticism.
Mountain Jews have traditionally maintained a two-tiered rabbinate, distinguishing between a rabbi and a "dayan." A "rabbi" was a title given to religious leaders performing the functions of liturgical preachers (maggids) and cantors (hazzans) in synagogues ("nimaz"), teachers in Jewish schools (cheders), and shochets. A Dayan was a chief rabbi of a town, presiding over beit dins and representing the highest religious authority for the town and nearby smaller settlements. Dayans were elected democratically by community leaders.
The religious survival of the community was not without difficulties. In the prosperous days of the Jewish Valley (roughly 1600-1800), the spiritual center of Mountain Jews centered on the settlement of Aba-Sava. Many works of religious significance were written in Aba-Sava. Here, Elisha ben Schmuel Ha-Katan wrote several of his piyyuts. Theologist Gershon Lala ben Moshke Nakdi, who lived in Aba-Sava in 18th century, wrote a commentary to Mishneh Torah of Maimonides. Rabbi Mattathia ben Shmuel ha-Kohen wrote his kabbalistic essay Kol Hamevaser in Aba-Sava. With the brutal destruction of Aba-Sava (roughly 1800), however, the religious center of Mountain Jews moved to Derbent.
Prominent rabbis of Mountain Jews in the nineteenth century included: Rabbi Gershom son of rabbi Reuven of Qırmızı Qəsəbə Azerbaijan, Shalom ben Melek of Temir-Khan-Shura (modern Buynaksk), Chief Rabbi of Dagestan Jacob ben Isaac, and Rabbi Hizkiyahu ben Avraam of Nalchik, whose son Rabbi Nahamiil ben Hizkiyahu later played a crucial role in saving Nalchik's Jewish community from the Nazis. In the early decades of the Soviet Union, the government took steps to suppress religion. Thus, In the 1930s, the Soviet Union closed synagogues belonging to mountain Jews. Same procedures were implemented on other ethnicities and religions. Soviet authorities propagated the myth that Mountain Jews were not part of the world Jewish people at all, but rather members of Tat community that settled in the region. Soviet anti-Zionism rhetoric was intensified during Khrushchev's rule. Some of the synagogues were later reopened in the 1940s. The closing of the synagogues in the 1930s was part of communist ideology, which resisted religion of any kind.
At the beginning of the 1950s, there were synagogues in all major Mountain Jewish communities. By 1966, reportedly six synagogues remained; some were confiscated by the Soviet authorities. While Mountain Jews observed the rituals of circumcision, marriage and burial, as well as Jewish holidays, other precepts of Jewish faith were observed less carefully. The community's ethnic identity remained unshaken despite the Soviet efforts. Cases of intermarriage with Muslims in Azerbaijan or Dagestan were rare as both groups practice endogamy. After the fall of the Soviet Union, Mountain Jews experienced a significant religious revival, with increasing religious observance by members of the younger generation.
Educational institutions, language, literature
Mountain Jews speak Judeo-Tat, also called Juhuri, a form of Persian; it belongs to the southwestern group of the Iranian division of the Indo-European languages. Judeo-Tat has Semitic (Hebrew/Aramaic/Arabic) elements on all linguistic levels. Among other Semitic elements, Judeo-Tat has the Hebrew sound "ayin" (ע), whereas no neighboring languages have it. Until the early Soviet period, the language was written with semi-cursive Hebrew alphabet. Later, Judeo-Tat books, newspapers, textbooks, and other materials were printed with a Latin alphabet and finally in Cyrillic, which is still most common today. The first Judeo-Tat-language newspaper, Zakhmetkesh (Working People), was published in 1928 and operated until the second half of the twentieth century.
Originally, only boys were educated through synagogue schools. Starting from the 1860s, many well-off families switched to home-schooling, hiring private tutors, who taught their sons not only Hebrew, but also Russian and Yiddish. In the early 20th century, with advance of sovietization, Judeo-Tat became the language of instruction at newly founded elementary schools attended by both Mountain Jewish boys and girls. This policy continued until the beginning of World War II, when schools switched to Russian as the central government emphasized acquisition of Russian as the official language of the Soviet Union.
The Mountain Jewish community has had notable figures in public health, education, culture, and art.
In the 21st century, the government is encouraging the cultural life of minorities. In Dagestan and Kabardino-Balkaria, Judeo-Tat and Hebrew courses have been introduced in traditionally Mountain Jewish schools. In Dagestan, there is support for the revival of the Judeo-Tat-language theater and the publication of newspapers in that language.
Culture
Military tradition
And we, the Tats
We, Samson warriors,
Bar Kochba's heirs...
we went into battles
and bitterly, heroically
struggled for our freedom
"The Song of the Mountain Jews"
Mountain Jews are known for their military tradition and have been historically viewed as fierce warriors. Some historians suggest that the group traces its beginnings to Persian-Jewish soldiers who were stationed in the Caucasus by the Sasanian kings in the fifth or sixth century to protect the area from the onslaughts of the Huns and other nomadic invaders from the east. Men were typically heavily armed and some slept without removing their weapons.
Dress
Over time the Mountain Jews adopted the dress of their Muslim neighbors. Men typically wore chokhas and covered their head with papakhas, many variations of which could symbolize the men's social status. Wealthier men's dress was adorned with many pieces of jewelry, including silver and gold-decorated weaponry, pins, chains, belts, or kisets (small purse used to hold tobacco or coins). Women's dress was typically of simpler design in dark tones, made from silk, brocade, velvet, satin and later wool. They decorated the fabric with beads, gold pins or buttons, and silver gold-plated belts. Outside the house, both single and married women covered their hair with headscarves.
Cuisine
Mountain Jewish cuisine absorbed typical dishes from various peoples of the Caucasus, Azerbaijani and Persian cuisine, adjusting some recipes to conform to the laws of kashrut. Typical Mountain Jewish dishes include chudu (a type of meat pie), shashlik, dolma, kurze or dushpare, yarpagi, khinkali, tara (herb stew with pieces of meat), nermov (chicken or other meat stew with wheat and beans), plov (pilaf), buglame (curry like stew of fish or chicken eaten with rice (osh)), etc. Jewish holidays-themed dishes include Eshkene, a Persian soup, prepared for Passover, and a variety of hoshalevo (honey-based treats made with sunflower seeds or walnuts) typically prepared for Purim.
Music
The music of Mountain Jews is mostly based in the standard liturgy, for prayer and the celebration of holidays. Celebratory music played during weddings and similar events is typically upbeat with various instruments to add layers to the sound.
Notable Mountain Jews
Omer Adam, Israeli singer
Udi Adam, Israeli general and the former head of the Israeli Northern Command
Yekutiel Adam (1927–1982), Israeli general and former Deputy Chief of Staff of the Israeli Defense Forces
Albert Agarunov (1969–1992), the National Hero of Azerbaijan, starshina of the Azerbaijani Army who died during the First Nagorno-Karabakh War
Yakov Agarunov (1907–1992), Soviet poet and playwright
Eduard Akuvaev (1945–2015), Soviet/Russian artist and teacher
Daniil Atnilov (1913–1968), Soviet poet
Manuvakh Dadashev (1913–1943), Soviet poet
Mishi Bakhshiev (1910–1972), Soviet writer and poet
Astrix, producer of Trance music
Hizgil Avshalumov (1913–2001), novelist, poet and playwright
Izi Davidov, major philanthropist during Soviet times, donated from his personal wealth to a multitude of people across the Caucasus, born in Krasnaya Sloboda (Gilgoti quarter)
Ilona Davidova, Russian-American entrepreneur, linguist, author, developer of novel high-speed technique for studying English
Mark Eliyahu, Israeli kamancheh player, born in Dagestan
Boris Gavrilov (1908–1990), Soviet writer and poet
Mikhail Gavrilov (1926–2014), Soviet writer and poet
Sarit Hadad, Israeli singer
Zarakh Iliev, Russian businessman, entrepreneur and real estate magnate
Gavril Abramovich Ilizarov (1921–1992), Soviet physician, known for inventing the Ilizarov apparatus for lengthening limb bones and for his eponymous surgery (Mountain Jewish father, Ashkenazi Jewish mother)
Telman Ismailov, businessman and entrepreneur, owner of AST group
Tankho Israelov (1917–1981), dancer, choreographer
Sergey Izgiyayev (1922–1972), author, translator, and songwriter
Mirza Khazar (1947–2020), Azerbaijani author, political analyst, anchorman, radio journalist, publisher, and translator
Tamara Musakhanov (1924–2014), Soviet sculptor and ceramist
Mushail Mushailov (1941–2007), Soviet/Russian artist and teacher
God Nisanov, Russian businessman, entrepreneur and real estate magnate
Iosif Prigozhin, Russian music producer, winner of the 1998 Ovation award in the category Producer of the Year
Lior Refaelov, Israeli football player
Zoya Semenduyeva (1929–2020), Soviet and Israeli poet
Robert Tiviaev, Israeli politician, current member of the Knesset
Israel Tsvaygenbaum, Russian-American artist (Ashkenazi Jewish father, Mountain Jewish mother)
Vladimir Yakubov, Soviet mathematician
Yaffa Yarkoni (1925–2012), Israeli singer, winner of the Israel Prize in 1998
Anatoly Yagudaev (1935–2014), sculptor. He held an honorary title of People's Artist of the Russian Federation
, Vice-President of the East-Asian Jewish Congress, Vice-President of the World Congress of Mountain Jews, President of the STMEGI International Charitable Foundation
Semen (Zalman) Ikhiilovich Divilov (1914–1988), economist, member of the board of the State Planning Committee of Azerbaijan 1952–1982
Zhasmin (née Sara Manakimovna), Russian pop-singer, winner of numerous music awards, including the Golden Gramophone Award (2000, 2001, 2003—2005, 2012—2015), Ovation (2000) and MTV Russia Music Awards (2005)
Gallery
See also
Mountain Jews in Israel
Israel-Azerbaijan relations
Qırmızı Qəsəbə, the primary settlement of Azerbaijan's population of Mountain Jews (3600).
Khazars
History of the Jews in Azerbaijan
World Congress of Mountain Jews
References
Further reading
External links
juhuro.com, website created by Vadim Alhasov in 2001. Daily updates reflect the life of Mountain Jewish (juhuro) community around the globe.
newfront.us, New Frontier is a monthly Mountain Jewish newspaper, founded in 2003. International circulation via its web site.
keshev-k.com, Israeli website of Mountain Jews
gorskie.ru, Mountain Jews, website in Russian language
"Judæo-Tat", Ethnologue
Jews
Jewish ethnic groups
Iranian Jews
Mizrahi Jews
Jews and Judaism in Persia and Iran
Jews
Mountain
Hill people
Ethnic groups in the Middle East | false | [
"The Belfort Synagogue is a synagogue built in the Byzantine Revival architecture during the Second French Empire in the city center of Belfort, France.\n\nThe building was erected in 1857 and was put on the list of National heritage site in October 1983.\n\nThe Jewish community exists in the town since the 13th century. Today the synagogue is active although the Jewish community is very small.\n\nAn old Jewish cemetery from 1811 still exists today.\n\nGallery\n\nReferences \n\nAshkenazi synagogues\nSynagogues in France\nByzantine Revival architecture in France\nNeoclassical architecture in France\nHistory of Franche-Comté\nByzantine Revival synagogues\nAshkenazi Jewish culture in France\nJewish French history\nJewish German history\nBuildings and structures in Belfort\nBuildings and structures in the Territoire de Belfort\nSynagogues completed in 1857\n1857 establishments in France",
"A synagogue was called \"Beit Knesset\" (Mal: ബേത് ക്നേസേത് | Heb: בית כנסת) in Judeo-Malayalam or \"Jootha Palli\" (Mal: ജൂതപള്ളി) with joothan meaning Jew in Malayalam and -palli a suffix added to prayer houses of the Abrahamic faiths. There are at least 8 known synagogues in Kerala in recorded history, even though most of them are not operating anymore. 7 of them belong to the Cochin Jews and 1 belongs to the Paradesi Jews.\nEach of these is quite unique in its construction and architecture; nevertheless, they retain very similar aesthetics, blending in both the Jewish and Keralite traditions rarified over centuries.\n\nOnly the Paradesi Synagogue in Mattancherry and the Kadavumbhagam Ernakulam Synagogue in Ernakulam downtown still functions as a synagogue and are popular tourist destinations. The Parur Synagogue, Chendamangalam Synagogue, Mala Synagogue are open to public visit, even if they do not serve their originally intended religious purposes anymore. They remain as souvenirs representative of Kerala's rich cosmopolitan heritage, religious tolerance and cultural magnificence.\n\nMany old synagogues are completely lost, a notable example being the Kochangadi Synagogue built in 1344 (the foundation stone of which is still retained in the Paradesi Synagogue) mostly likely after the Jews had to abandon Muziris due to the great flood of Periyar river in 1341\n.\n\nList of Synagogues in Kerala\n\nList of Lost Synagogues in Kerala \nThroughout their history numerous synagogues have been constructed and lost to time. in their first settlement at Shingly (Cranganore) , there were 18 synagogues as per their oral traditions. Today no archaeological evidence has been yet uncovered to validate these traditions. However the custom of naming their synagogues as \"Thekkumbhagam\" (lit: south side) and \"Kadavumbhagam\" (lit: River side) is cited as a cultural memory of two such synagogues that once stood in Muziris. Several oral songs sung by Cochini women also contain references to these synagogues. Apart from these, numerous Syrian Christian churches of the St. Thomas Christian community in Kerala claim to have been built on old synagogues, though archaeological evidence is scarce.\n\nSynagogues believed to have existed or speculated on basis of oral traditions include:\n\n Madayi Synagogue, Madayi\n Kodungaloor Synagogue/ Makotai Synagogue, Kodungaloor\n Thekkumbhagam synagogue, Kodungaloor\n Kadavumbhagam Synagogue, Kodungaloor\n\nSynagogues in recorded history whose location and/or remains have been lost in time:\n\n Palayoor Synagogue, Palur (known only from a rimon (ornament) bearing its name)\n Kokkamangalam Synagogue, Kokkamangalam\n Kochangadi Synagogue,(1344 A.D - 1789 A.D) Kochangadi (oldest synagogue in recorded history)\n\n Saudi Synagogue, (1514 A.D-1556 A.D), Saude, a locality south of Fort Kochi.\n Tir-Tur Synagogue, (1745 A.D-1768 A.D) Thiruthur, Kochi\n Muttam Synagogue (1800A.D), Muttam, Alappuzha\n Fort Kochi Synagogue, (1848 A.D), Fort Kochi (congregation of meschuhrarim)\n\nArchitectural Similarities \n\nAll the 8 synagogues in Kerala built during the recent centuries have similar traditional architectural features that include: \n a central Bimah of brass or silver metal on a concrete or stone base\n an Ark or heckal on the western wall facing Jerusalem. \n a balcony above the eastern entry to the sanctuary that is used by the hazzan (reader) on certain holidays. \nA second bimah on the upper gallery for women, unique to kerala synagogues. Often integrated into the wooden railing of the balcony. \n a women's gallery behind the balcony, with a stairway leading up to it, usually from outside the building.\n\nSee also\n Synagogues in India\n Kerala Architecture\n Synagogue architecture\n International Jewish Architectural Heritage Foundation, New York, USA\n\nReferences\n\n \nKerala\nLists of religious buildings and structures in India"
]
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[
"Adam Gilchrist",
"Charity, media, business career and political work"
]
| C_a9ccda28bf8a4a1f84da266403ead958_0 | Did he donate to a lot of charities? | 1 | Did Adam Gilchrist donate to a lot of charities? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | true | [
"Raising for Effective Giving (REG) is a charity fundraising nonprofit. Its members consist mostly of professional poker players and financial investors who pledge to donate a percentage of their income to selected charities.\n\nPhilosophy\nREG was founded based on the view that in order to reduce suffering in the developing world, people in the developed world should donate to particularly effective charity organizations. REG donates to, and recommends, selected charities based on their cost-effectiveness. One criterion in the cost-effectiveness evaluations is how much money the charity requires to save a life. \n\nREG's outreach focuses on professional poker players, because it believes that they have strong quantitative skills, making them better suited for REG's messages about cost-effectiveness. In addition, poker is a large industry with substantial monetary prizes.\n\nActivities \nThere are 87 members of REG, who have each pledged to donate at least 2% of their income. Recipients included The Against Malaria Foundation, The Machine Intelligence Research Institute (MIRI), The Center for Applied Rationality (CFAR), GiveDirectly, GiveWell, Schistosomiasis Control Initiative, The Humane League, Mercy For Animals, The Great Ape Project, and The Nonhuman Rights Project.\n\nREG members wear patches with the name of the organization at poker tournaments, to advertise their commitment to donate their winnings. Two REG members, Martin Jacobson and Jorryt van Hoof, were among the November Nine that played at the 2014 World Series of Poker Main Event final table. Jacobson placed first, earning him the title of poker world champion and winning $10,000,000, of which $250,000 was subsequently donated through REG.\n\nInternational coverage and reception \n\nAdditional coverage within the international poker community includes Bluff Europe, PokerNews, among others.\n\nReferences \n\nCharities based in Nevada\nPoker and society\nOrganizations associated with effective altruism",
"An Easter seal is a form of charity label issued to raise funds for charitable purposes. They are issued by the Easterseals charity in the United States, and by the Canadian Easter Seals charities.\n\nEaster seals are applied to the front of mail to show support for particular charitable causes. They are distributed along with appeals to donate to the charities they support.\n\nEaster seals are a form of Cinderella stamp. They do not have any postal value.\n\nCinderella stamps"
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"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000."
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| C_a9ccda28bf8a4a1f84da266403ead958_0 | What type of political work did he do? | 2 | What type of political work did Adam Gilchrist do? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | Gilchrist has been the chair of the National Australia Day Council since 2008. | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
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Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
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Wisden Cricketers of the Year
Wicket-keepers | false | [
"Of Time, Work, and Leisure is a 1962 book by Pulitzer prize-winning political scientist Sebastian de Grazia about the role of what he calls \"work time\", \"free time\", and \"leisure time\" in society. De Grazia argues that even though the average work day and work week are shorter, and technology frees up time for workers, the average worker has less free time today than they did in the past.\n\nReferences\n\nBibliography\nDe Grazia, S. (1962). Of Time, Work, and Leisure. The Twentieth Century Fund. New York. \nHemingway, J. L. (1988). Leisure and Civility: Reflections on a Greek Ideal. Leisure Sciences. 10 (3), 179-191.\nMaciver, R. M. (October 5, 1962). Tyranny of the Clock: The Need To Enjoy What One Does Cannot Be Overestimated. Science. 138 (3536), 23-24. \nWillhoite, F. H. (1963). Book Reviews: Of Time, Work, and Leisure. The Journal of Politics. Southern Political Science Association. 25 (2), 382-383.\n\nFurther reading\nAnton, C. (2009). \"Clocks, Synchronization, and the Fate of Leisure: A Brief Media Ecological History of Digital Technologies.\" In Sharon Kleinman (Ed.), The Culture of Efficiency: Technology in Everyday Life. Peter Lang. .\nSimon, Y. R. (1999). \"Leisure and Culture\". Real Democracy. Lanham, Maryland. Rowman & Littlefield Publishers, Inc. \n\n1962 non-fiction books",
"\n\nTrack listing\n Opening Overture\n \"I Get a Kick Out of You\" (Cole Porter)\n \"You Are the Sunshine of My Life\" (Stevie Wonder)\n \"You Will Be My Music\" (Joe Raposo)\n \"Don't Worry 'bout Me\" (Ted Koehler, Rube Bloom)\n \"If\" (David Gates)\n \"Bad, Bad Leroy Brown\" (Jim Croce)\n \"Ol' Man River\" (Jerome Kern, Oscar Hammerstein II)\n Famous Monologue\n Saloon Trilogy: \"Last Night When We Were Young\"/\"Violets for Your Furs\"/\"Here's That Rainy Day\" (Harold Arlen, E.Y. Harburg)/(Matt Dennis, Tom Adair)/(Jimmy Van Heusen, Johnny Burke)\n \"I've Got You Under My Skin\" (Porter)\n \"My Kind of Town\" (Sammy Cahn, Van Heusen)\n \"Let Me Try Again\" (Paul Anka, Cahn, Michel Jourdan)\n \"The Lady Is a Tramp\" (Richard Rodgers, Lorenz Hart)\n \"My Way\" (Anka, Claude Francois, Jacques Revaux, Gilles Thibaut)\n\nFrank Sinatra's Monologue About the Australian Press\nI do believe this is my interval, as we say... We've been having a marvelous time being chased around the country for three days. You know, I think it's worth mentioning because it's so idiotic, it's so ridiculous what's been happening. We came all the way to Australia because I chose to come here. I haven't been here for a long time and I wanted to come back for a few days. Wait now, wait. I'm not buttering anybody at all. I don't have to. I really don't have to. I like coming here. I like the people. I love your attitude. I like the booze and the beer and everything else that comes into the scene. I also like the way the country's growing and it's a swinging place.\n\nSo we come here and what happens? We gotta run all day long because of the parasites who chase us with automobiles. That's dangerous, too, on the road, you know. Might cause an accident. They won't quit. They wonder why I won't talk to them. I wouldn't drink their water, let alone talk to them. And if any of you folks in the press are in the audience, please quote me properly. Don't mix it up, do it exactly as I'm saying it, please. Write it down very clearly. One idiot called me up and he wanted to know what I had for breakfast. What the hell does he care what I had for breakfast? I was about to tell him what I did after breakfast. Oh, boy, they're murder! We have a name in the States for their counterparts: They're called parasites. Because they take and take and take and never give, absolutely, never give. I don't care what you think about any press in the world, I say they're bums and they'll always be bums, everyone of them. There are just a few exceptions to the rule. Some good editorial writers who don't go out in the street and chase people around. Critics don't bother me, because if I do badly, I know I'm bad before they even write it, and if I'm good, I know I'm good before they write it. It's true. I know best about myself. So, a critic is a critic. He doesn't anger me. It's the scandal man who bugs you, drives you crazy. It's the two-bit-type work that they do. They're pimps. They're just crazy, you know. And the broads who work in the press are the hookers of the press. Need I explain that to you? I might offer them a buck and a half... I'm not sure. I once gave a chick in Washington $2 and I overpaid her, I found out. She didn't even bathe. Imagine what that was like, ha, ha.\n\nNow, it's a good thing I'm not angry. Really. It's a good thing I'm not angry. I couldn't care less. The press of the world never made a person a star who was untalented, nor did they ever hurt any artist who was talented. So we, who have God-given talent, say, \"To hell with them.\" It doesn't make any difference, you know. And I want to say one more thing. From what I see what's happened since I was last here... what, 16 years ago? Twelve years ago. From what I've seen to happen with the type of news that they print in this town shocked me. And do you know what is devastating? It's old-fashioned. It was done in America and England twenty years ago. And they're catching up with it now, with the scandal sheet. They're rags, that's what they are. You use them to train your dog and your parrot. What else do I have to say? Oh, I guess that's it. That'll keep them talking to themselves for a while. I think most of them are a bunch of fags anyway. Never did a hard day's work in their life. I love when they say, \"What do you mean, you won't stand still when I take your picture?\" All of a sudden, they're God. We gotta do what they want us to do. It's incredible. A pox on them... Now, let's get down to some serious business here...\n\nSee also\nConcerts of Frank Sinatra\n\nFrank Sinatra"
]
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[
"Adam Gilchrist",
"Charity, media, business career and political work",
"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.",
"What type of political work did he do?",
"Gilchrist has been the chair of the National Australia Day Council since 2008."
]
| C_a9ccda28bf8a4a1f84da266403ead958_0 | Does he have a business degree? | 3 | Does Adam Gilchrist have a business degree? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | CANNOTANSWER | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | false | [
"The Management Institute of Canada or Institut Canadien de Management (MIC) is a Canadian professional school based in Montreal, authorized by the government of Quebec. MIC is an unaccredited non-degree business school in Quebec, offering online programs in business administration.\n\nPrograms \nMIC offers the following non-degree programs:\n\nCorporate program\nExecutive leadership program\nGeneral program\n\nMIC, degrees and DIU \nThe Management Institute of Canada/Institut Canadien de Management is a school registered in Quebec, Canada.\n\nMIC is not a degree granting institution and does not deliver MBA or BBA University degrees. For degree programs. Students interested in University degree programs can address to the unaccredited Delta International University of New Orleans, based in Louisiana.\n\nMIC is not operating in the US and does not deliver University degree programs. MIC is a Canadian Institute offering professional courses. However, the use of unaccredited University degree titles outside of Canada is legally restricted or illegal in some jurisdictions in the USA. Jurisdictions that have restricted or made illegal the use of credentials from unaccredited schools include Oregon, Michigan, Maine, North Dakota, New Jersey, Washington, Nevada, Illinois, Indiana and Texas. Many other states are also considering restrictions on unaccredited degrees in order to help prevent fraud.\n\nReferences\n\nExternal links\n Management Institute of Canada\n\nUnaccredited institutions of higher learning\nBusiness schools in Canada",
"The Master of Science in Leadership (MSL) is a master's degree in leadership studies that is offered by a college of business. It is an alternative to, not a substitute for, the traditional Master of Business Administration (MBA) degree. The MSL degree requirements may include some business/management courses that are required in an MBA program. However, this degree program concentrates heavily on leader-follower interactions, cross-cultural communications, coaching, influencing, team development, leading organizational changes, strategic thinking, project leadership, and behavioral motivation theories. It does not concentrate on financial or quantitative analysis, marketing, or accounting which are common in MBA programs. The degree program is appealing to businesspeople in well-established careers already. The MSL degree is similar to the Master of Science in Organizational Leadership (MSOL) degree or the Master of Leadership Sciences degree offered by the National School of Leadership in India.\n\nReferences\n\nLeadership studies\nBusiness qualifications"
]
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"Adam Gilchrist",
"Charity, media, business career and political work",
"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.",
"What type of political work did he do?",
"Gilchrist has been the chair of the National Australia Day Council since 2008.",
"Does he have a business degree?",
"I don't know."
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| C_a9ccda28bf8a4a1f84da266403ead958_0 | What type of media has he been in? | 4 | What type of media has Adam Gilchrist been in? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | In March 2008, Gilchrist joined the Nine Network. | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | true | [
"\"The wrong type of snow\" or \"the wrong kind of snow\" is a phrase coined by the British media in 1991 after severe weather caused disruption to many of British Rail's services. A British Rail press release implied that management and its engineering staff were unaware of different types of snow. Henceforth in the United Kingdom, the phrase became a byword for euphemistic and pointless excuses.\n\nBackground\nThe phrase originated in an interview conducted by James Naughtie on BBC Radio 4's Today Programme on 11 February 1991. British Rail's Director of Operations, Terry Worrall, was asked to comment on the adverse effects of the unusually heavy 1991 snowfall on railway services that winter. Worrall explained that \"we are having particular problems with the type of snow, which is rare in the UK\". Naughtie replied \"Oh, I see, it was the wrong kind of snow,\" to which Worrall replied, \"No, it was a different kind of snow\". The exchange prompted a headline in the London Evening Standard saying \"British Rail blames the wrong type of snow\" which was swiftly taken up by the media and other papers.\n\nThe cold snap had been forecast and British Rail had claimed to be ready for the coming snow. However, the snow was unusually soft and powdery and too deep to be cleared by snowploughs – it needed snowblowers. The snow found its way into electrical systems and caused short circuits and traction motor damage in trains. For traction motors with integral cooling fans and air intakes pointing downwards – the type that is still common on British electric multiple units – the problem was made worse as the air intakes sucked up the loose snow. Meanwhile, the snow also became packed into sliding door mechanisms and into points, causing them to fail. In addition, low temperatures resulted in problems with electric current collection from the third rail.\n\nMany electric services had to be replaced by diesel haulage, and emergency timetables were introduced. Long delays were commonplace – up to eight hours in some cases. The disruption lasted over a week.\n\nUsage\n\nThe phrase \"the wrong type of snow\", \"the wrong kind of snow\" and variants appear periodically in British media reports concerning railway incidents brought on by adverse weather, with an intended polemic effect of instilling disbelief in the reader. Since \"the wrong type of snow\" has entered British English phraseology, it has come to be regarded as an example of a snowclone, a type of re-usable cliché with many variants.\n\nDuring the December 2009 European snowfall, several Eurostar trains broke down in the Channel Tunnel, trapping 2,000 passengers in darkness; newspapers reported \"wrong type of fluffy snow\". Following the destruction of the coastal railway line at Dawlish, Devon during severe weather in 2014, the Daily Telegraph carried a cartoon by Matt with a notice reading, \"Trains cancelled – Wrong sort of seaweed\". On 12 January 2016, The Guardian reported on Southeastern train delays caused by \"strong sunlight\" and the low winter sun with the headline, \"Wrong kind of sunlight delays Southeastern trains in London\".\n\nThe emergence of the phrase \"the wrong type of snow\" came about during a period when the privatisation of British Rail was being widely debated in the media. Journalists frequently sourced anecdotal evidence to compose stories about failures in the performance of railway operators. Stock phrases involving \"leaves on the line\" and snow were used in headlines to ridicule seasonal disruption, to such an extent that they are now said to have passed into Britain's folklore and are considered to be established in the \"collective British consciousness\". The two have also been combined into \"the wrong sort of leaves\" in media coverage.\n\nThe popularity of the \"wrong type of snow\" phrase has been attributed to its expression of a national sense of disappointment with British infrastructure, along with a fading sense of national pride and romantic associations with railways. The phrase has been cited as an example of poor corporate communication and public relations. Its longevity and persistence in the public consciousness has been attributed to a highly effective but poorly chosen analogy that has \"stuck\" with its audience and is subject to interpretation in other contexts; what originated as a simplified explanation of a technical problem has become a popular code for a lame excuse. The \"wrong kind of/type of\" part of the phrase has itself been shown to exemplify semantic change, having undergone a process of grammaticalization to move from an impartial description of weather conditions to become a politically loaded signifier of failure.\n\nSee also\n\nReferences\n Allan, Ian. Motive Power Monthly (May 1991)\n\nNotes\n\nRail transport in the United Kingdom\nEuphemisms\nEnglish phrases\nSnow in the United Kingdom\nNewswriting\nSnowclones\n1991 neologisms",
"Media queries is a feature of CSS 3 allowing content rendering to adapt to different conditions such as screen resolution (e.g. mobile and desktop screen size). It became a W3C recommended standard in June 2012, and is a cornerstone technology of responsive web design (RWD).\n\nHistory\nMedia queries were first sketched in Håkon Wium Lie's initial CSS proposal in 1994, but they did not become part of CSS 1. The HTML4 Recommendation from 1997 shows an example of how media queries could be added in the future. In 2000, W3C started work on media queries and also on another scheme for supporting various devices: CC/PP. The two address the same problem, but CC/PP is server-centric, while media queries are browser-centric. The first public working draft for media queries was published in 2001, and the specification became a W3C Recommendation in 2012 after browsers added support.\n\nUsage\nA media query consists of a media type and one or more expressions, involving media features, which resolve to either true or false. The result of the query is true if the media type specified in the media query matches the type of device the document is being displayed on and all expressions in the media query are true. When a media query is true, the corresponding style sheet or style rules are applied, following the normal cascading rules.\nMedia queries use the @media CSS \"at-rule\".\n\nExamples\nThe following are examples of CSS media queries:\n\n@media screen and (display-mode: fullscreen) {\n /* Code in here only applies to screens in fullscreen */\n}\n@media all and (orientation: landscape) {\n /* Code in here only applies in landscape orientation */\n}\n@media screen and (min-device-width: 500px) {\n /* Code in here only applies to screens equal or greater than 500 pixels wide */\n}\n\nMedia types\nA media type can be declared in the head of an HTML document using the \"media\" attribute inside of a <link> element. The value of the \"media\" attribute specifies on what device the linked document will be displayed. Media types can also be declared within XML processing instructions, the @import at-rule, and the @media at-rule. CSS 2 defines the following as media types:\n all (suitable for all devices)\n braille\n embossed\n handheld\n print\n projection\n screen\n speech\n tty\n TV\n\nThe media type \"all\" can also be used to indicate that a style sheet applies to all media types.\n\nMedia features\nThe following table contains the media features listed in the latest W3C recommendation for media queries, dated 6 June 2007.\n\nReferences\n\nExternal links\n W3C – Media Queries recommendation 19 June 2012\n W3C – CSS specs > Media Queries\n CodeSpot – CSS Media Queries\n\nCascading Style Sheets\nResponsive web design\nAdaptive web design"
]
|
[
"Adam Gilchrist",
"Charity, media, business career and political work",
"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.",
"What type of political work did he do?",
"Gilchrist has been the chair of the National Australia Day Council since 2008.",
"Does he have a business degree?",
"I don't know.",
"What type of media has he been in?",
"In March 2008, Gilchrist joined the Nine Network."
]
| C_a9ccda28bf8a4a1f84da266403ead958_0 | What is the Nine network? | 5 | What is the Nine network? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | true | [
"Hi-5 is an Australian children's television series, originally produced by Kids Like Us and later Southern Star for the Nine Network and created by Helena Harris and Posie Graeme-Evans. The program is known for its educational content, and for the cast of the program, who became a recognised musical group for children outside of the series, known collectively as Hi-5. It has generated discussion about what is considered appropriate television for children. The series premiered on 12 April 1999 on the Nine Network. \n\nThe series is designed for a pre-school audience, featuring five performers who educate and entertain through music, movement and play. Music is an integral part of the series with the group's pop appeal resonating in the program. The segments of the show are based on an educational model. The original cast was composed of Kellie Crawford, Kathleen de Leon Jones, Nathan Foley, Tim Harding and Charli Robinson. This line-up had been completely phased out by the end of 2008 and were replaced with a new line-up of performers. Hi-5 received three Logie Television Awards for Most Outstanding Children's Program.\n\nHarris and Graeme-Evans ended their involvement with the series in 2008 when the program was sold to Southern Star and the Nine Network. The final episode of Hi-5 aired on 16 December 2011 as a result of the Nine Network selling the property in 2012. A spin-off series, Hi-5 House, aired on Nick Jr. from 2013 to 2016, produced with no involvement from Nine. \n\nNine renewed its partnership with the Hi-5 franchise in October 2016 and announced plans to revive Hi-5 with a new cast. The revived series premiered on 9Go! on 15 May 2017.\n\nSeries overview\n\nOriginal series\n\nRevived series\n\nOriginal series (1999–2011)\n\nSeries 1 (1999)\n\nSeries 2 (2000)\n\nSeries 3 (2001)\n\nSeries 4 (2002)\n\nSeries 5 (2003)\n\nSeries 6 (2004)\n\nSeries 7 (2005)\n\nSeries 8 (2006)\n\nSeries 9 (2007)\n\nSeries 10 (2008)\n\nSeries 11 (2009)\n\nSeries 12 (2010)\n\nSeries 13 (2011)\n\nRevived series (2017)\n\nSeries 1 (2017)\n\nNotes\n\nReferences\n\nLists of Australian children's television series episodes",
"Sudden Impact is an Australian observational documentary series that airs on the Nine Network. It debuted on 9 December 2008 at 8pm. The program was developed in association with the Transport Accident Commission (TAC), and is narrated by Gary Sweet. The program is largely set in Victoria. The series is similar to the New Zealand based show Serious Crash Unit and Seven Network's Crash Investigation Unit.\n\nReferences\n\nExternal links \n Official website\n WTFN Entertainment\n\nNine Network original programming\n2008 Australian television series debuts\n2009 Australian television series endings\nAustralian factual television series"
]
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"Adam Gilchrist",
"Charity, media, business career and political work",
"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.",
"What type of political work did he do?",
"Gilchrist has been the chair of the National Australia Day Council since 2008.",
"Does he have a business degree?",
"I don't know.",
"What type of media has he been in?",
"In March 2008, Gilchrist joined the Nine Network.",
"What is the Nine network?",
"Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition."
]
| C_a9ccda28bf8a4a1f84da266403ead958_0 | Is he still a part of the Nine Network? | 6 | Is Adam Gilchrist still a part of the Nine Network? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | CANNOTANSWER | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | false | [
"\n\nEvents\n25 January – Richard Morecroft reads his last ABC News bulletin. He is replaced the following Monday by Tony Eastley.\n4 February – Nine cast members from All Saints participate in The Weakest Link: All Saints Special to mark the first and only anniversary of The Weakest Link in Australia. Erik Thomson wins the special, but his winnings are unknown.\n11 February – The Nine Network's post-Sale of the Century replacement, Shafted hosted by former Hey Hey It's Saturday member Red Symons premieres. After dismal ratings the show is cancelled in April the same year. On the same day the network's post-Burgo's Catch Phrase replacement Pass the Buck, a new game show based on the UK game show containing a word association premieres leading into Nine's most-watched 6pm news bulletin, After dismal ratings the show is cancelled in May the same year.\n11 March – The Seven Network's Docklands studios in Melbourne open, with the first Seven News Melbourne news bulletin being broadcast from the centre. This leads to a national relaunch of the Seven News brand with new sets and graphics in most cities. Also on that day, the nine remaining contestants from the third season of The Mole take part in a special episode of The Weakest Link for a chance to add $100,000 to the prize kitty. The team performed well against expectations, winning only $14,100, the lowest amount ever won on the Australian version of the show. On The Mole, this figure is rounded up to $15,000. The show was cancelled one month later after dismal ratings.\n6 March – Foxtel introduces a new sports channel called Fox Footy Channel. It runs until 1 October 2006.\n20 March – Tim Lane resigns from the Nine Network following a disagreement in regards to commentating AFL matches with Eddie McGuire involving the Collingwood Football Club. Lane defects to rival Network Ten in 2003, where he remained until Ten lost the rights at the end of 2011.\n8 April – Australian media analysis television program Media Watch returns to air on the ABC several months after the broadcaster had removed its former managing director Jonathan Shier with David Marr taking over as host as Paul Barry had been sacked by Shier in 2000 following its cancellation.\n24 April – Crystal-Rose Cluff wins the third season of The Mole, taking home $108,000 in prize money. Alaina Taylor is revealed as the Mole, and Marc Jongebloed is the runner-up.\n2 May – Final episode of the Australian drama series (which is the very first television series in Australia to be filmed in widescreen) Something in the Air airs on ABC.\n16 May – Kath & Kim premieres on the ABC and is a surprise hit. It was picked up by the Seven Network in 2007.\n1 July – Peter Corbett wins the second season of Big Brother.\n2 July – American science fiction fantasy series Smallville premieres on the Nine Network.\n26 July – Mixy ends after 4-year run and it will be replaced by children's weekday morning and afternoon blocks on the ABC.\n6 August – Eddie McGuire and Catriona Rowntree present an all new IQ test television series called Test Australia: The National IQ Test which is airing on Nine Network. It has also been ranked as the most watched television show for 2002 in Australia.\n12 August – After being cancelled in 2001, Burgo's Catch Phrase relaunches on the Nine Network and is a surprise hit, with new graphics, new theme music and new prizes with the contestant backdrop increased to three people with the game show been produced by Grundy Television, leading into Nine's most-watched 6pm news bulletin.\nTV and radio personality Dylan Lewis is voted winner of Celebrity Big Brother.\nSeptember – SBS launches its first Digital channel, the SBS World News Channel.\n1 September – The Nine Network undergoes a revamp to change their on-air graphics, including changing their dots back to spears as well as the numeral becoming 3D for the colour-coded days.\n30 September – The Wiggles return to television with a brand new television series called Lights, Camera, Action, Wiggles! airing for the first time ever on ABC.\n4 October – Beyblade premieres on Fox Kids and two weeks later on Network Ten as part of Cheez TV. Also that day, David Koch takes over from Chris Reason as co-host of Sunrise, a role which he still holds as of today.\n29 November – Brian Henderson retires from reading Sydney's National Nine News after four decades. He is replaced the following Monday by Jim Waley, who manages to keep the bulletin on top of the ratings in Sydney for the next two years.\n\nChannels\n\nNew channels\n\n 6 March – Fox Footy Channel\n\nDefunct channels\n 30 November – Oh! (replaced by FOX8 on Optus Television)\n\nPremieres\n\nDomestic series\n\nInternational series\n\nSubscription television\n\nDomestic\n\nInternational\n\nSpecials\n\nFree-to-air premieres\nThis is a list of programs which made their premiere on Australian free-to-air television that had previously premiered on Australian subscription television. Programs may still air on the original subscription television network.\n\nInternational\n\nSubscription premieres\nThis is a list of programs which made their premiere on Australian subscription television that had previously premiered on Australian free-to-air television. Programs may still air on the original free-to-air television network.\n\nDomestic\n\nInternational\n\nChanges to network affiliation\nThis is a list of programs which made their premiere on an Australian television network that had previously premiered on another Australian television network. The networks involved in the switch of allegiances are predominantly both free-to-air networks or both subscription television networks. Programs that have their free-to-air/subscription television premiere, after previously premiering on the opposite platform (free-to air to subscription/subscription to free-to air) are not included. In some cases, programs may still air on the original television network. This occurs predominantly with programs shared between subscription television networks.\n\nDomestic\n\nInternational\n\nEnding / Resting this year\n\nSee also\n 2002 in Australia\n List of Australian films of 2002\n\nReferences",
"The year 2007 in Australian television was the 52nd year of continuous operation.\n\nEvents \n\n 15 January – Channel Nine, NBN Television & WIN Television relaunches their on-air presentation.\n 22 January – Monique Wright was then crowned Sunrise's new weather presenter. a year later Monique Wright left Sunrise and the prize went to Fifi Box. On that day, SBS's World News is revamped with a 1-hour format.\n 29 January – Former Who Wants to Be a Millionaire? host and CEO of the Nine Network, Eddie McGuire, returns to screens as the host of Nine's new game show 1 vs. 100. Also debuting on the same night, but at a different time, is the Seven Network's big money game show The Rich List hosted by Andrew O'Keefe. National Nine News nearly relaunch their news graphics, but on that day, this never happened.\n 9 February – The Australian Football League signs a five-year broadcasting contract with the Seven Network, Network Ten and pay TV provider Foxtel, in a controversial deal that will see half of the AFL matches played each week broadcast on Foxtel instead of free-to-air television.\n 12 February – Jodi Power, a family friend of convicted drug smuggler Schapelle Corby, made allegations in a paid interview on Channel Seven's Today Tonight that Corby's sister Mercedes had previously asked Power to transport drugs to Bali and that Mercedes had confessed to smuggling compressed cannabis concealed inside her body into Indonesia. Mercedes is interviewed by Tracy Grimshaw on Channel Nine's major rival program A Current Affair on 14 February.\n 30 March – The Seven Network broadcasts its first AFL premiership match since the 2001 AFL Grand Final, for another long-indefinite run.\n 1 April – The Seven Network signs a $3 million a year for the broadcast rights to the fourth series of Kath & Kim, a popular sitcom which had previously aired until their final appearance on the ABC in 2005 as Da Kath & Kim Code.\n 7 April – Australian music program Rage celebrates 20 years on air is over 4 weeks in 20 Years Of Rage.\n 9–13 April – The fourth season of The Mole is replayed during the afternoon period, during the NSW school holidays.\n 16 April – Australia's Leader of the Opposition Kevin Rudd and Federal Minister for Employment and Workplace Relations Joe Hockey discontinue their weekly appearances on Seven's breakfast news program Sunrise after four years. The decision follows possibly politically damaging accusations that Sunrise had requested that Rudd appear at a dawn service for ANZAC Day in Long Tan, Vietnam, with the service held an hour early to accommodate the time difference for live television.\n 28 April – 12-year-old singer Bonnie Anderson wins the first season of Australia's Got Talent\n 1 May – Singer Kate Ceberano and her partner John-Paul Collins win the sixth season of Dancing with the Stars.\n 18 May – After a tumultuous 15-month reign, the CEO of the Nine Network, Eddie McGuire, resigns.\n 18 June – Seven Network's The Morning Show is introduced, marking a new millennium in daytime television.\n 2 July – National Nine News nearly tipped to relaunch their news graphics, this also never happened as it lost it to Seven News.\n 23 July – Long running soap opera Neighbours has a major cast revamp to try to improve its struggling ratings, and continue its long-run on the Network Ten.\n 29 July – Seven Network claims 20th record-breaking ratings win of the year to secure ratings year.\n 19 August – Fourth series premiere of Kath & Kim at 7 – 30pm, now on the Seven Network, attracts an audience of 2.521 million nationally, making it the most watched television programme so far in 2007 and the highest rating ever for a first episode in the history of Australian television.\n 26 August – Veteran journalist, TV legend and former A Current Affair host Ray Martin announces he is leaving the Nine Network after thirty years, citing disillusionment with the network's management.\n 6 September – Julian Morrow and Chas Licciardello from The Chaser's War on Everything along with nine other production crew members are arrested in Sydney during the APEC summit for entering a restricted area. Those arrested were travelling in a fake Canadian motorcade and Licciardello was dressed up as Osama bin Laden.\n 9 September – Seven Network journalist Ben Davis is attacked outside Melbourne's Olympic Park Stadium by a gang of drunken Brisbane Broncos supporters during a live cross to Seven's Brisbane bulletin.\n 1 October – Seven News Perth journalist Chris Mainwaring dies from a drug overdose. Just the day before, Mainwaring was preparing for a boxing duel with cricketer Justin Langer, parts of which appear on the Seven News bulletin on the day of his death.\n 15 October – Seven HD launches.\n 21 October – The Nine Network includes the \"worm\" audience reaction graph in their broadcast of the election debate between John Howard and Kevin Rudd, despite agreements to the contrary. The National Press Club cut Nine's transmission feed, and the ABC cut their backup feed. Nine continued to transmit by adding the worm to the Sky News broadcast.\n 22 October – After 18 months off the air, Who Wants to Be a Millionaire? makes a brief return to Australian television; lasting just five weeks of more poor ratings.\n 29 October – Seven HD and Prime Television service a new regional multi-channel, Prime HD.\n 2 November – Perth-based Network Ten's news anchorperson Charmaine Dragun is found dead near Sydney, apparently due to a suicide.\n 25 November – Natalie Gauci becomes the last woman to win the fifth series of Australian Idol, then months later her singing career tanked.\n 27 November – McLeod's Daughters actress Bridie Carter and her partner Craig Monley win the seventh season of Dancing with the Stars.\n 30 November – Daryl Somers announces he is quitting the hosting job of the Seven Network's high-rating reality show Dancing with the Stars.\n 3 December –\n Seven's Melbourne news bulletin defeats its Nine and Ten counterparts in the ratings for the first time in nearly 30 years. Seven won 20 weeks, Nine won 19 and the other week was tied.\n American science fiction sitcom The Big Bang Theory created by Chuck Lorre, the creator of Two and a Half Men premieres on the Nine Network at 7:30 pm.\n 16 December – Ten HD launches.\n December – The Seven Network wins the ratings year for the first time since 1978 (excluding 2000, the year of the Sydney Olympics), thanks to their \"Seven in '07\" campaign which aired at the start of the year.\n December – Network Ten broadcasts Sony Pictures movies for the final-ever time, before handing the television rights to the Nine Network. Ten later revived the Sony Pictures output deal 6 years later.\n The 2004 romance film The Notebook starring Ryan Gosling and Rachel McAdams premieres on the Nine Network.\n\nRatings – network shares\n\nNew channels \n 13 July – National Indigenous Television\n 15 October – Seven HD\n 29 October – Prime HD (serviced by Seven HD)\n 1 December – Showcase\n 16 December – Ten HD\n\nDebuts\n\nSubscription television\n\nNew international programming\n\nSubscription television\n\nSpecials\n\nOther debuts\n\nDocumentaries\n\nInternational\n\nProgramming changes \n\nBelow is a list programs which made their premiere on free-to-air television that had previously premiered on Australian Pay TV; a program may still air on the original network.\n\nSubscription premieres \nThis is a list of programs which made their premiere on Australian subscription television that had previously premiered on Australian free-to-air television. Programs may still air on the original free-to-air television network.\n\nDomestic\n\nInternational\n\nEnding this year\n\nSporting rights\n\nSee also \n 2007 in Australia\n List of Australian films of 2007\n\nNotes \n Tsunami – The Aftermath was edited from a 2-part miniseries, into a single, 2½ hour telemovie\n Superstorm was edited from a 3-part miniseries, into a single, 2½ hour telemovie\n\nReferences"
]
|
[
"Adam Gilchrist",
"Charity, media, business career and political work",
"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.",
"What type of political work did he do?",
"Gilchrist has been the chair of the National Australia Day Council since 2008.",
"Does he have a business degree?",
"I don't know.",
"What type of media has he been in?",
"In March 2008, Gilchrist joined the Nine Network.",
"What is the Nine network?",
"Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition.",
"Is he still a part of the Nine Network?",
"I don't know."
]
| C_a9ccda28bf8a4a1f84da266403ead958_0 | What has he done in business? | 7 | What has Adam Gilchrist done in business? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | Gilchrist has had a number of company directorships outside of cricket. | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | true | [
"Ram Charan (Hindi राम चरण; Uttar Pradesh, 1939) is an Indian-American business consultant, speaker, and writer resident in Dallas, Texas.\n\nCareer \nCharan has consulted for companies such as GE, KLM, Bank of America, Praxair and Jaypee Associates. He is the author of various books on business, including Talent Masters, Leaders At All Levels''', Leadership in the Era of Economic Uncertainty: The New Rules for Getting the Right Things Done in Difficult Times, Boards That Deliver, What The CEO Wants You To Know, Boards At Work, Every Business Is A Growth Business (with Noel Tichy), Profitable Growth Is Everyone's Business, Confronting Reality, Know How and Execution (with Larry Bossidy and Charles Burck), which was a best-seller.\n\nCharan runs his business management consulting company under the name Charan Associates in Dallas, TX. Records show the company was established in 1981 and incorporated in Texas. Current estimates show this company has an annual revenue of $500,000 to $1 million and employs a staff of approximately 1 to 4. Charan sits on the board for Austin Industries, SSA & Company (formerly Six Sigma Academy), and TE Connectivity.\n\nCharan partnered with Kevin R. Cope and Stephen M.R. Covey to form Acumen Learning. Acumen Learning and Ram Charan have an agreement to use the concepts in his book: \"What the CEO Wants You to Know\". Ram has helped to define and popularize the idea of business acumen being an essential leadership characteristic in management.\n\nIn November 2012, Dr. Ram Charan, along with Sadhguru Jaggi Vasudev guided Insight: the DNA of Success a leadership program bringing together, for the first time, the tools of professional and personal empowerment. Fortune magazine calls him 'the most influential consultant alive'. The 4-day program held at the Isha Yoga Center, saw 200 business leaders converge in an exploration that bridged spirituality and business.\n\nCharan was elected a Fellow of the National Academy of Human Resources in 2000 and named a Distinguished Fellow in 2005.\n\n Awards \n\nThe Economic Times of India named Ram Charan Global Indian of the Year for 2010.\n\nReferences\n\nFurther reading\n Ram Charan, 2009, Leadership in the Era of Economic Uncertainty: The New Rules for Getting the Right Things Done in Difficult Times, McGraw-Hill Professional. \n\nBibliographyThe Talent Masters:Why Smart Leaders Put People Before Numbers (November 9, 2010)Owning Up: The 14 Questions Every Board Member Needs to Ask (April 13, 2009)Leadership in the Era of Economic Uncertainty: The New Rules for Getting the Right Things Done in Difficult Times (December 22, 2008)The Game-Changer: How You Can Drive Revenue and Profit Growth with Innovation (April 8, 2008)Know-How: The 8 Skills That Separate People Who Perform from Those Who Don't (2007)Leaders at All Levels: Deepening Your Talent Pool to Solve the Succession Crisis (December 21, 2007)What the Customer Wants You to Know (December 27, 2007)Boards That Deliver: Advancing Corporate Governance From Compliance to Competitive Advantage (2005)The Source of Success: Five Enduring Principles at the Heart of Real Leadership (2005)Confronting Reality: Doing What Matters to Get Things Right (2004)Profitable Growth Is Everyone's Business: 10 Tools You Can Use Monday Morning (2004)Execution: The Discipline of Getting Things Done (2002)What the CEO Wants You to Know : How Your Company Really Works (2001)The Leadership Pipeline: How to Build the Leadership Powered Company (2000)Every Business is a Growth Business: How Your Company Can Prosper Year After Year'' (2000)\n\nExternal links\nOfficial website\n\n1939 births\nAmerican business writers\nBoston University faculty\nBusiness speakers\nHarvard Business School alumni\nIndian emigrants to the United States\nLiving people\nAmerican businesspeople of Indian descent",
"Peter Eric Done (born 1947) is an English billionaire businessman, the founder and group managing director of Peninsula Business Services, established in 1983.\n\nDone was born in Salford, Lancashire, England in February 1947. His wife is Anna Done (m. 1970) and together they have two children.\n\nEarly life \nBorn in Salford, England, Peter Done has three siblings. His brother is Fred Done. He attended Trafford Road School. At age 15, he left school along with his brother to work at their father’s illegal bookmaking business. At 17, Done managed a betting shop for another company. “You weren’t even allowed in betting shops until you were 18, and I was managing one at 17”. At age 21, he acquired his own shop in Pendleton, England.\n\nCareer\n\nBetfred \nIn 1967, Done co-founded his own bookmaking business with his brother using money they received betting on the 1966-67 World Cup. Originally, their business was named Done Brothers, but eventually it was changed to its current ‘Betfred.’ In its early days Betfred was a family business; Done, his brother, their father, their mother and both of their wives helped run the store throughout the week. Done’s role at the time was as a sales and marketing director.\n\nThe 1967 United Kingdom foot-and-mouth outbreak caused many bookmaking businesses to close. Betfred managed to stay afloat by pivoting from horse racing — the major sport that involved betting — to afternoon dog racing.\n\nAfter 12 months of successfully being in business, Done and his brother decided to expand by buying another storefront. They bought their new shop at £250 and made the money back within the week. Peter managed the second shop while his brother Fred stayed at the first one. Their sister would go on to manage their third shop.\n\nAs of 2018 Betfred has over 1,650 shops and a turnover of approximately £10 billion.\n\nPeninsula Business Services \nIn 1983 Done and his brother co-founded “Professional Personnel and Management Services Limited” after having to pay £9,000 to settle an employment tribunal. In 2016 this company later became Peninsula Business Services (Peninsula). “We literally tossed a coin, I won, and Fred said ‘you got Peninsula’\". The business didn’t find success until Done identified its potential and decided to focus his abilities and time on it. He planned to advertise its services on the road for six months, then return to work with his brother at Betfred. “I was supposed to be coming back from Peninsula after six months and we were going to get a manager in, but 35 years later I’m still in the business\". As of 2021, Peter Done is the founder and current managing director of Peninsula.\n\nPeninsula offers advice and counselling to staff of the public sector. As of 2018 Peninsula has over 60,000 businesses subscribed to its services, serves over 30,000 clients, and is made up of over 2,700 staff members. The business operates in the UK, Australia, New Zealand, and Canada. As of 2019, Peninsula began successful expansion in Ireland despite uncertainty caused by Brexit in 2020.\n\nThe Canadian Peninsula branch houses over 200 employees, 3,000 clients, and operates in three Canadian provinces (Peninsula Team, 2020).\n\nIn 2013, Done injected a cash investment of £1.6 million to improve and develop the HROnline app. This app helped employers manage different types of HR activities such as sickness, employment, holidays, and lateness recording.\n\nIt claims to be the UK’s largest provider of employment law, HR, health & safety and EAP consultancy services. Its subsidiaries include Employsure, Peninsula Canada, Croner Tax, Croneri and Croner Group. The company HQ is based at the Peninsula Building in Manchester and employs over 3000 people worldwide.\n\nBusiness interests\nIn 2021, the Sunday Times Rich List estimated his net worth at £1.235 billion.\n\nEmploysure \nIn May 2012, Peninsula Business Services acquired a 65% share of Employsure, an Australian advising firm specializing in industrial relations, which was registered as a company in 2011. The business claims to be the largest in its sector with over 20,000 clients in Australia and 800 employees.\n\nCharity \nDone, along with his brother, have charitable trusts set up. Their main donations are to children (children hospitals, children’s charities). They once donated one day’s worth of Betfred profits to the Royal Manchester Children’s Hospital during the Cheltenham festival. They also once donated £200 per century break played at the Snooker World Championship to the Jessie May children’s charity — the final amount donated was £40,000.\n\nIn March 2021, Peninsula raised £1 million for the Royal Manchester Children’s Hospital charity. Due to the Covid-19 pandemic and the increased pressure on the staff, Done decided to increase their pledge to £2 million. Done notes “Peninsula Group are delighted to have reached the remarkable milestone of raising £1 million through our incredible fundraising efforts and the Group matching every donation made. We hope that this impressive donation will help Royal Manchester Children’s Hospital Charity significantly.”\n\nAwards and accolades \nIn 2020, Peninsula received the first ever Feefo Platinum Trusted Service Award for achieving Feefo Gold Standard three successive years in a row. To this Done responded “We’re delighted to receive this award and continue to put our clients at the heart of everything we do. “Achieving the inaugural Feefo Platinum Trusted Service award is special and reflects our team’s commitment to delivering an excellent experience”.\n\nIn 2015, Done was shortlisted for the Service Industries award by the Great British Entrepreneur awards (GBE).\n\nOn January 28, 2019, Peninsula was awarded the Best Professional Services award in the Metro Toronto Convention Centre at the CanadianSME Business Awards in Toronto, Ontario, Canada. The award recognizes the Peninsula group for “providing exceptional product services — HR and Health and Safety advice to business owners across Canada\". Ryan Wozniack, Senior Vice President of Operations and Legal notes “We are extremely grateful and honoured to receive this award... Thank you to our founder, Peter Done, who has given us all the resources and support we needed for success in our expansion across Canada\".\n\nIn 2019, Done was awarded the Glassdoor Employees’ Choice Award. The award highlights top European and North American CEOs that employees most enjoy working for. Done anonymously received a 93% approval rating by his employees at Peninsula to which he responded “It is a privilege to be recognized as part of this fantastic group of highly accomplished leaders. To know this award is based solely on the feedback of our employees makes it even more special.”\n\nLifestyle \n\nDone lives in Salford.\n\nDone supports Manchester United FC and attends football matches with his brother. “That is where we have our board meetings, we just sit there and have a chat about what’s going on\".\n\nReferences \n\n1947 births\nLiving people\nEnglish billionaires\nEnglish businesspeople\nConservative Party (UK) donors"
]
|
[
"Adam Gilchrist",
"Charity, media, business career and political work",
"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.",
"What type of political work did he do?",
"Gilchrist has been the chair of the National Australia Day Council since 2008.",
"Does he have a business degree?",
"I don't know.",
"What type of media has he been in?",
"In March 2008, Gilchrist joined the Nine Network.",
"What is the Nine network?",
"Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition.",
"Is he still a part of the Nine Network?",
"I don't know.",
"What has he done in business?",
"Gilchrist has had a number of company directorships outside of cricket."
]
| C_a9ccda28bf8a4a1f84da266403ead958_0 | What company directorships has he had? | 8 | What company directorships has Adam Gilchrist had? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | false | [
"Herbert Lushington Storey (1853–1933) was a businessman and High Sheriff of Lancashire.\n\nStorey was a son of Sir Thomas Storey and was born in Lancaster, Lancashire in 1853. After his education at Friends' School, the Royal Grammar School, Lancaster and Derby Grammar School, he spent some time working for the engineering firm of James Farmer in Salford before attending Owens College for further education. He also visited Germany to learn both the language and the business methods adopted in that country.\n\nA Liberal Unionist, Storey was a Lancaster town councillor for eight years and was made a county magistrate in 1898. He was also a philanthropist, enabling extension lectures at the University of Lancaster and, in 1902, giving £10,000 to extend the Storey Institute that had initially been funded by his father. In the same year, he gave £5,000 to the Royal Albert Asylum for the erection of what were named the Herbert Storey Industrial Schools and Workshops. He also had a significant role in the development of Westfield War Memorial Village.\n\nStorey was appointed High Sheriff of Lancashire in March 1904, ten years after his father had held the same office. He held various company directorships at that time, including the Lancaster-based businesses of Storey Bros. & Co. at White Cross Linoleum Mills and the Rembrandt Intaglio Printing Company. Other directorships were with the Barrow and Calcutta Flax and Jute Company, the Ackers, Whitley and Co. collieries in Wigan and the Darwen and Mostyn Iron Company.\n\nA keen sportsman as a young man — he played rugby union for Owens College, Manchester Rangers, Preston Grasshoppers and his county — Storey was a founder and president of Vale of Lune RUFC. His interest in boating caused him to come close to drowning in 1875 as he attempted to sail from Lancaster to Morecambe in a canoe. He was also a keen huntsman and held offices with the Vale of Lune Hunt and he was a successful livestock breeder. He lived in Bailrigg, Lancaster and died in 1933.\n\nHe was married and had a son and a daughter.\n\nReferences \nNotes\n\nCitations\n\n1853 births\n1933 deaths\nHigh Sheriffs of Lancashire\nPeople from Lancaster, Lancashire\nPeople educated at Lancaster Royal Grammar School\nLancashire County RFU players",
"Sir Thomas Stewart Gordon (26 April 1882 – 5 July 1949) was an Australian politician.\n\nHe was born in Ardrossan in South Australia grazier William Gordon and Alice Wicks. He was a businessman who settled in Sydney in 1903, where he worked for Birt and Company. In 1909 he married Victoria Fisher, with whom he had three daughters. He spent three years in Wellington in New Zealand before becoming a shipping manager. He held a variety of other company positions and directorships, and as also a Mosman alderman from 1925 to 1928. From 1932 to 1934 he was a United Australia Party member of the New South Wales Legislative Council. He was knighted in 1938. Gordon died at Point Piper in 1949.\n\nReferences\n\n1882 births\n1949 deaths\nUnited Australia Party members of the Parliament of New South Wales\nMembers of the New South Wales Legislative Council\nAustralian Knights Bachelor\n20th-century Australian politicians"
]
|
[
"Adam Gilchrist",
"Charity, media, business career and political work",
"Did he donate to a lot of charities?",
"In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.",
"What type of political work did he do?",
"Gilchrist has been the chair of the National Australia Day Council since 2008.",
"Does he have a business degree?",
"I don't know.",
"What type of media has he been in?",
"In March 2008, Gilchrist joined the Nine Network.",
"What is the Nine network?",
"Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition.",
"Is he still a part of the Nine Network?",
"I don't know.",
"What has he done in business?",
"Gilchrist has had a number of company directorships outside of cricket.",
"What company directorships has he had?",
"His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex."
]
| C_a9ccda28bf8a4a1f84da266403ead958_0 | Has he donated to any other charities? | 9 | Has Adam Gilchrist donated to any charities other than Freedom Wheels? | Adam Gilchrist | Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008. In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League. As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000. Gilchrist has been the chair of the National Australia Day Council since 2008. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks European settlement and is offensive to many Aboriginal Australians. Gilchrist is considered to have left-wing views; Australian captain Ricky Ponting commented in his annual Captain's Diary that his deputy had a penchant for reading Karl Marx while on tour. Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation CANNOTANSWER | CANNOTANSWER | Adam Craig Gilchrist (; born 14 November 1971) is an Australian cricket commentator and former international cricketer and captain of the Australia national cricket team. He was an attacking left-handed batsman and record-breaking wicket-keeper, who redefined the role for the Australia national team through his aggressive batting. Widely regarded as one of the greatest wicket-keeper-batsman in the history of the game, Gilchrist held the world record for the most dismissals by a wicket-keeper in One Day International (ODI) cricket until it was surpassed by Kumar Sangakkara in 2015 and the most by an Australian in Test cricket.
His strike rate is amongst the highest in the history of both ODI and Test cricket; his 57 ball century against England at Perth in December 2006 is the fourth-fastest century in all Test cricket. He was the first player to have hit 100 sixes in Test cricket. His 17 Test centuries and 16 in ODIs are both second only to Sangakkara by a wicket-keeper. He holds the unique record of scoring at least 50 runs in successive World Cup finals (in 1999, 2003 and 2007). His 149 off 104 balls against Sri Lanka in the 2007 World Cup final is rated one of the greatest World Cup innings of all time. He is one of the only three players to have won three World Cup titles.
Gilchrist was renowned for walking when he considered himself to be out, sometimes contrary to the decision of the umpire. He made his first-class debut in 1992, his first One-Day International appearance in 1996 in India and his Test debut in 1999. During his career, he played for Australia in 96 Test matches and over 270 One-day internationals. He was Australia's regular vice-captain in both forms of the game, captaining the team when regular captains Steve Waugh and Ricky Ponting were unavailable. He retired from international cricket in March 2008, though he continued to play domestic tournaments until 2013.
Early and personal life
Adam Gilchrist was born in 1971 at Bellingen Hospital, in Bellingen, New South Wales, the youngest of four children. He and his family lived in Dorrigo, Junee and then Deniliquin where, playing for his school, Deniliquin South Public School, he won the Brian Taber Shield (named after New South Wales cricketer Brian Taber). When Adam was 13, his parents, Stan and June, moved the family to Lismore where he captained the Kadina High School cricket team.
Gilchrist was selected for the state under-17 team, and in 1989 he was offered a scholarship by London-based Richmond Cricket Club, a scheme he now supports himself. During his year at Richmond, he also played junior cricket for Old Actonians Cricket Club's under-17 team, with whom he won the Middlesex League and Cup double. He moved to Sydney and joined the Gordon District Cricket Club in Sydney Grade Cricket, later moving to Northern Districts.
Gilchrist is married to his high school sweetheart Melinda (Mel) Gilchrist ( Sharpe), a dietitian, and they have three sons and a daughter. His family came under the spotlight in the months leading up to the 2007 Cricket World Cup as one impending birth threatened his presence in the squad; the child was born in February and Gilchrist was able to take part in the tournament.
Domestic career
In 1991, Gilchrist was selected for the Australia Young Cricketers, a national youth team that toured England and played in youth ODIs and Tests. Gilchrist scored a century and a fifty in the three Tests. Upon his return to Australia late in the year, Gilchrist was accepted into the Australian Cricket Academy. Over the next year, Gilchrist represented the ACA as they played matches against the Second XI of Australia's state teams, and toured South Africa to play provincial youth teams.
Upon returning to Australia, Gilchrist scored two centuries in four matches for the state Colts and Second XI teams, and was rewarded with selection to make his first-class debut for New South Wales during the 1992–93 season, although he played purely as a batsman, due to the presence of incumbent wicketkeeper Phil Emery. In his first season, the side won the Sheffield Shield, Gilchrist scoring an unbeaten 20 in the second innings to secure an easy win over Queensland in the final. Gilchrist made 274 runs at an average of 30.44 in his debut season, a score of 75 being his only effort beyond fifty. He also made his debut in Mercantile Mutual limited overs competition. He struggled to keep his place in the side, playing only three first-class matches in the following season. He scored on 43 runs at 8.60; New South Wales won both competitions, but Gilchrist was overlooked for both finals and did not play a single limited overs match.
Due to a lack of opportunities in the dominant New South Wales outfit, Gilchrist joined Western Australia at the start of the 1994–95, where he had to compete with former Test player Tim Zoehrer for the wicket-keeper's berth. Gilchrist had no guarantee of selection. However, he made a century in a pre-season trial match and seized Zoehrer's place. The local fans were initially hostile to the move, but Gilchrist won them over. He made 55 first-class dismissals in his first season, the most by any wicketkeeper in Australian domestic cricket in 1994–95. However, he struggled with the bat, scoring 398 runs at 26.53 with seven single figure scores, although he recorded his maiden first-class century in the latter stages of the season, with 126 against South Australia. Gilchrist was rewarded with selection in the Young Australia team that toured England in 1995 and played matches against the English counties. Gilchrist starred with bat, scoring 490 runs at 70.00 with two centuries. His second season based in Perth saw him top of the dismissals again, with 58 catches and four stumpings, but, significantly, 835 runs at an impressive batting average of 50.52. The Warriors made it to the final of the Sheffield Shield, at the Adelaide Oval, where Gilchrist scored 189 not out in the first innings, from only 187 balls, including five sixes. The innings brought Gilchrist national prominence. The match ended in a thrilling draw as South Australia's last-wicket pair held on to fend off the visitors. The hosts thus took the title, having scored more points in the qualifying matches. Gilchrist also scored an unbeaten 76 to help Western Australia secure a narrow three-wicket victory over New South Wales in the penultimate limited overs match of the season, which saw them into the final against Queensland, which was lost. Gilchrist's form saw him selected for Australia A, a team comprising players close to national selection. At the start of the 1996–97 season, sections of the media advocated that he replace Ian Healy as the national wicket-keeper, but Healy struck 161 in the First Test and maintained his position. Gilchrist continued to perform strongly on the domestic circuit he topped the dismissals count once again, with 62, along with a batting average of just under 40, although he failed to post a century. Team success came in the Mercantile Mutual Cup, where the Warriors won by eight wickets against Queensland in the March 1997 final; Gilchrist was not required to bat.
The 1997–98 season ended with Gilchrist top of the dismissals chart for the fourth season in a row with an improved batting average of 47.66, despite playing in only six of the ten qualifying Shield matches due to his becoming a regular member of the national limited overs team. Gilchrist registered his maiden–first-class double century with an unbeaten 203 against South Australia early in the season, before returning late in the season after his international commitments were over. He added 109 against Victoria, and played in the Sheffield Shield final victory over Tasmania, although he scored only eight. There was disappointment for the team in the Mercantile Mutual Cup, losing the semi-final to Queensland. The following season saw Gilchrist's domestic appearances diminish due to his international commitments: he made only a single appearance in the Mercantile Mutual Cup, but still managed to help Western Australia defend the Sheffield Shield, scoring a century in the qualifying rounds.
Gilchrist's regular selection for Australia meant that he was rarely available for domestic selection after he became the Test wicket-keeper in late-1999; between 1999 and 2005, he made only seven first-class appearances for his state. He did not play in the 2005–06 Pura Cup and only appeared three times in the limited-overs ING Cup.
Indian Premier League
Gilchrist played a total of six seasons in the Indian Premier League (IPL), the major Twenty20 franchise league in India, three for Deccan Chargers and three for Kings XI Punjab. He was signed by Deccan for the 2008 season, the inaugural season of the competition, having been purchased for US$700,000 in the player auction a few months after his retirement from international cricket.
Before the fourth season of the IPL Gilchrist was bought at the 2011 player auction by Kings XI Punjab for US$900,000 and was, again, appointed as captain, taking over from Kumar Sangakkara who had moved to Deccan. In March 2012 he was named player-coach of the side for the following season, replacing his friend and former Australia teammate Michael Bevan, whose contract as head coach was not renewed. After the team failed to make the play-offs, Gilchrist speculated that he may choose to retire from cricket.
Following the appointment of Darren Lehmann, who had previously worked with Gilchrist at Deccan, as head coach, Gilchrist chose to play one more IPL season for Kings XI, once again as captain. In May 2013, Gilchrist announced his retirement from the IPL. A planned appearance in the first season of the Caribbean Premier League had to be cancelled after an ankle injury and the match proved to be Gilchrist's last in top-class cricket. In that fixture, Gilchrist took the wicket of Harbhajan Singh, from his one and only ball he ever bowled in a T20 match.
Over his six seasons in the IPL Gilchrist played a total of 82 matches, 48 for Deccan and 34 for Kings XI. He scored more than 2,000 runs, including two centuries. He was also the first cricketer to score 1000 runs in IPL.
Middlesex
Gilchrist signed a short-term contract in November 2009 to play Twenty20 cricket for Middlesex County Cricket Club in England during 2010. He was appointed interim captain of the T20 side on 11 June following the sudden resignation of Shaun Udal. He played in seven matches for the side during the 2010 Twenty20 Cup, scoring 212 runs at an average of 30.28, including a century made against Kent at Canterbury, as well as captaining the county against the touring Australians in a one-day match ahead of their ODI series against England. The season was Gilchrist's only one spent playing county cricket.
International career
Early one-day seasons
Gilchrist was called up for the Australian One Day International (ODI) team in 1996, his debut coming against South Africa at Faridabad on 25 October 1996 as the 129th Australian ODI cap, after an injury to incumbent Ian Healy. While not particularly impressive with the bat on his debut, scoring 18 before being bowled by Allan Donald, Gilchrist took his first catch as an international wicketkeeper, Hansie Cronje departing for a golden duck from the bowling of Paul Reiffel. He was run out for a duck in his only other ODI on the tour. Healy resumed his place during the 1996–97 season. Gilchrist replaced Healy for the first two ODIs in the 1997 Australian tour of South Africa, after Healy was suspended for dissent. When Healy returned Gilchrist maintained his position in the team as a specialist batsman after Mark Waugh sustained a hand injury. It was during this series that Gilchrist made his first ODI half-century, with an innings of 77 in Durban. He totalled 127 runs at 31.75 for the series. Gilchrist went on to play in the Texaco Trophy later in 1997 in the 3–0 series loss against England, scoring 53 and 33 in two innings.
At the start of the 1997–98 Australian season, Healy and captain Mark Taylor were omitted from the ODI squad as the Australian selectors opted for Gilchrist and Michael di Venuto. Gilchrist's elevation was made possible by a change in policy by selectors, who announced that selection for ODI and Test teams would be separate, with Test and ODI specialists selected accordingly, while Healy remained the preferred Test wicket-keeper. This came after Australia failed to qualify for the previous season's ODI triangular series final for the first time in 17 years. The new team was initially unconvincing, losing all four round robin matches against South Africa in the 1997–98 Carlton & United Series, with multiple players filling Taylor's role as Mark Waugh's opening partner without success. Gilchrist also struggled batting in the lower order at number seven, the conventional wicket-keeper's batting position, scoring 148 runs at 24.66 in the eight qualifying matches. In the first final against South Africa at the Melbourne Cricket Ground Gilchrist was selected as Waugh's opening partner. In a particularly poor start to the new combination, Waugh was run out after a mix-up with Gilchrist. However, in the second final, Gilchrist struck his maiden ODI century, spearheading Australia's successful run chase at the Sydney Cricket Ground, securing his position as an opening batsman. Australia won the third final to claim the title.
Touring New Zealand in February 1998, Gilchrist topped the Australia averages with 200 runs at 50.00, including a match-winning 118 in the first match. He also effected his first ODI stumping, the wicket of Nathan Astle in the Second ODI in Wellington. Australia then played two triangular tournaments in Asia. Gilchrist struggled in India, scoring 86 runs at 17.20. He went on to play in the Coca-Cola Cup in Sharjah in April 1998, a triangular tournament between Australia, India and New Zealand. Australia finished runners-up in the tournament, with Gilchrist taking nine dismissals as wicketkeeper and averaging 37.13 with the bat.
Gilchrist won a silver medal at the 1998 Commonwealth Games in Kuala Lumpur, the only time cricket has been in the Commonwealth Games. The matches did not have ODI status, and after winning their first four fixtures, Australia lost the final to South Africa, Gilchrist making 15. He then scored 103 and ended with 190 runs at 63.33 as Australia took a rare 3–0 whitewash on Pakistani soil.
Gilchrist was in fine form ahead of the 1999 Cricket World Cup with a productive individual performance in the Carlton & United Series in January and February 1999 against Sri Lanka and England. He finished with 525 runs at a batting average of 43.75 with two centuries—both against Sri Lanka—and a fifty, and a total of 27 dismissals in 12 matches. His 131 helped Australia set a successful run-chase at the SCG, and he followed this with 154 at the MCG.
The 1999 tour of the West Indies was Australia's last campaign before the World Cup and continued to prove Gilchrist's ability as a wicketkeeper-batsman. Gilchrist, with a batting average of 28.71 and a strike rate of nearly 90.00, and seven fielding dismissals in a seven-match series which ended 3–3 with one tie.
First World Cup success
Gilchrist played in every match of Australia's successful World Cup campaign, but struggled at first, with scores of 6, 14 and 0 in the first three matches against Scotland, New Zealand and Pakistan. Australia lost the latter two matches and had to avoid defeat for six consecutive matches to reach the final. Gilchrist's quick-fire 63 runs in 39 balls against Bangladesh helped the Australians into the Super Six stage of the tournament, which was secured with a win over the West Indies, although Gilchrist made only 21. Gilchrist continued to struggle in the Super Six phase, scoring 31, 10 and 5 against India, Zimbabwe and South Africa. Australia won all three matches, the last in the final over, to scrape into the semifinals. Gilchrist made only 20 in the semifinal against South Africa, but completed the final act of the match. With the scores tied, South Africa were going for the winning run when Gilchrist broke the stumps to complete the run out of Allan Donald; the match was tied, and Australia proceeded to the final as they had won the group stage match against South Africa. Gilchrist's 54 in the final helped secure Australia's first world title since 1987 with an eight wicket victory over Pakistan. It was a happy ending for Gilchrist, who had struggled through the tournament, with 237 runs at 21.54.
Success at the World Cup was followed by a defeat by Sri Lanka in the final of the Aiwa Cup in August 1999,. Gilchrist was the most successful batsman and wicket-keeper of the tournament, with 231 runs at 46.20. While the Test players battled against Sri Lanka, Gilchrist led Australia A in a limited overs series against India A in Los Angeles. He then scored 60 runs at 20.00 as the Australians completed a 3–0 whitewash of Zimbabwe in October.
Test debut
Gilchrist made his Test match debut in the First Test against Pakistan at the Gabba in Brisbane in November 1999 becoming the 381st Australian Test cricketer. He replaced Healy, who was dropped after a run of poor form, despite the incumbent's entreaties to the selectors to allow him a farewell game in front of his home crowd. Gilchrist's entry into the Test arena coincided with a dramatic rise in Australia's fortunes. Up to this point, they had played eight Tests in 1999, winning and losing three.
Gilchrist's icy reception at the Gabba did not faze him; he took five catches, stumped Azhar Mahmood off Shane Warne's bowling and scored a rapid 81, mostly in partnership with ODI partner Waugh, in a match that Australia won comfortably by ten wickets. In his second Test match he made an unbeaten 149 to help guide Australia to victory in a game that looked well beyond their reach. Australia were struggling at 5/126 in pursuit of 369 for victory as he joined his Western Australian teammate, Justin Langer, but the pair put on a record-breaking partnership of 238 to seal an Australian win. Gilchrist continued his strong run throughout his debut Test season, and ended the summer with 485 runs at 69.28 in six matches, three each against Pakistan and India, adding two fifties against the latter.
Gilchrist was moderately successful in the following ODIs, the Carlton & United Series; Australia defeated Pakistan 2–0 in a best-of-three final. Gilchrist scored 272 runs at 27.20; his best effort was 92 in a 152-run victory over India on Australia Day. Gilchrist then scored 251 runs at 41.66 in the ODIs during a tour of New Zealand. The highlight was a 128 in Christchurch that propelled Australia to a score of 6/349. Gilchrist was named man of the match in two of the games.
In the Third Test against New Zealand in 2000, Gilchrist recorded the third best Test performance ever by a wicketkeeper, and the best by an Australian, taking ten catches in the match. Although Gilchrist's batting was modest, yielding 144 runs at 36.00, Australia took a 3–0 clean sweep. In two home and away ODI series against South Africa, Gilchrist had a quiet time, scoring 170 runs at 26.66. South Africa won three of the six matches, with one tie.
Later that year, he was handed the vice-captaincy of the Australian team in place of Shane Warne, who had been plagued by a number of off-the-field controversies, including an altercation with some teenage boys, and a sex scandal with a British nurse.
The 2000–01 season saw a West Indian touring party and Gilchrist warmed up with consecutive first-class centuries for Western Australia. Captaining his Test team for the first time in place of the injured Steve Waugh in the Third Test in Adelaide. Gilchrist scored only 9 and 10 not out, but a ten-wicket haul from Colin Miller resulted in a hard-fought five-wicket victory for Australia. Gilchrist described the match as "the proudest moment of my career". Waugh resumed the captaincy on his return to the team for the Fourth and Fifth Tests, with the series finishing in a 5–0 whitewash. Gilchrist scored 241 runs at 48.20 with two fifties. In the ensuing ODI tournament, Gilchrist scored 326 runs at 36.22 with a top-score of 98 as the Australians won all ten matches.
Up to this point, Gilchrist had played in 14 Tests, all in Australasia, and all of which had been won. Australia's run of 15 consecutive Test wins faced a steep challenge on the tour of India, where they had not won a Test series since 1969–70.
Australia's streak looked in danger during the First Test in Mumbai when they fell to 5/99 in reply to India's 171 when Gilchrist came to the crease. He counterattacked savagely, scoring 122 in just 112 balls, and featuring in a 197-run partnership with Matthew Hayden in only 32 overs. This swung the momentum back to Australia, who reached 349. Gilchrist took six catches and was named Man of the Match in a ten wicket victory, extending the world record run to 16.
Gilchrist's form dipped momentarily, with a rare king pair (two golden ducks in the same match) in the Second Test in Kolkata and just two runs in his two innings in Chennai. He was out LBW four consecutive times in the last two Tests, three of these to Harbhajan Singh, who took 32 wickets in the series to end Australia's run by inflicting a 2–1 series loss. His one-day form remained strong, with 172 runs at 43.00 in the ODI series in India, as Australia bounced back to win the series 3–2. During this series he captained the ODI team for the first time, winning all three of the matches under his captaincy.
2001 Ashes
Gilchrist played a pivotal role in the 2001 Ashes series which Australia won 4–1, with 340 runs at a batting average of 68.00 and 26 dismissals in the five match series.
Gilchrist warmed up by putting his ODI struggles on English soil in 1999 behind him, scoring 248 runs at 49.60 in the triangular tournament preceding the Tests, scoring an unbeaten 76 in the final win over Pakistan.
Gilchrist put the disappointment of India behind him in the First Test at Edgbaston, scoring 152 from only 143 balls. The allowed Australia to reach 576 in only 545 minutes, and set up an innings victory that set the tone for the series. Gilchrist then added 90 in the eight-wicket win in the Second Test at Lord's, before turning the tide in the Third Test at Trent Bridge. Australia slumped to 7/105 in reply to the hosts' 185, but Gilchrist's 54 took the tourists to 190 before a seven-wicket win resulted in the retention of the Ashes.
Gilchrist captained the team in the Fourth Test at Headingley after an injury to Steve Waugh. After persistent rain interruptions, Gilchrist declared with Australia four down at tea on the fourth day, leaving England with a target of 315, which, despite losing two early wickets, they reached with six wickets to spare, (Mark Butcher scoring an unbeaten 173, including 24 boundaries). Gilchrist failed to pass 25 in the last two Tests, but it had been a productive season; he scored centuries in both of Australia's county matches.
Two home series followed in the 2001–02 season, a fully drawn (0–0) three match series against New Zealand and a whitewash over South Africa 3–0. Gilchrist scored 118 in the First Test against New Zealand and an unbeaten 83 in the Third Test in Perth as the Australians held on for a draw with three wickets intact. However, Gilchrist did little in the triumph over South Africa, failing to pass 35. He ended the summer Tests with 353 runs at 50.42.
In the ensuing ODIs, Gilchrist scored only 97 runs at 16.16. The Australian selectors sought to accommodate Hayden, who had been successful as a Test opener, into the ODI team by rotating him with Gilchrist and Waugh, but this appeared to unsettle the team. With a newly fragile top-order, Australia failed to qualify for the finals, and the Waugh brothers were dropped from the team, ending Gilchrist's four-year partnership with Mark. Ricky Ponting was promoted to the captaincy ahead of vice captain Gilchrist.
The Australians then toured South Africa the next month and it was during the First Test in Johannesburg that Gilchrist broke the record for the fastest double century in Tests on 23 February, requiring 212 balls for the feat. This was eight balls quicker than Ian Botham's innings against India at The Oval in 1982. He ended unbeaten on 204, having featured in a partnership of 317 with Damien Martyn at a run rate of 5.5. South Africa were demoralised and lost by an innings after being forced to follow on. The record lasted only one month, however, with New Zealand's Nathan Astle taking 59 balls less to reach the milestone during an innings in March 2002.
In the Second Test at Cape Town, Gilchrist struck 138 from 108 balls to set up a first innings lead and eventual four-wicket win. He then top-scored with 91 in the Third Test, and although Australia lost the match, Gilchrist ended the series with an astonishing 473 at 157.66 from just 474 balls, in addition to 14 dismissals.
Gilchrist captained the ODI team, once again for a single match, against Kenya in Nairobi during the PSO Tri-Nation Tournament. Despite Australia's unbeaten run in the competition, the final, against Pakistan was abandoned due to rain, so the teams shared the trophy. During the six middle months of 2002, Gilchrist played in 18 ODIs, scoring 562 runs at 31.22, including a century, recovering from his slump.
After scoring 122 runs at 40.66 in the 3–0 Test series clean sweep over Pakistan in the United Arab Emirates, Gilchrist went on to help the Australians retain The Ashes 4–1 in 2002–03, playing in all five matches of the series, finishing with 330 runs at 55.50 and taking 25 dismissals as wicket-keeper. After scoring fifties in the first two Tests, Gilchrist scored a counter-attacking 133 from 121 balls in the Fifth Test at the SCG, but was unable to prevent Australia's only loss of the series.
From the time of his debut up to the 2003 World Cup, Gilchrist's played in 40 Tests in series. With the exception of the 2001 tour of India, when he averaged 24.80 (he made 124 runs in the series; 122 of them came in one innings), his performances with the bat were such that he was described at the time as the "finest batsman-wicketkeeper to have graced the game". At one point in March 2002, Gilchrist's Test average was over 60; the second-highest for any established player in Test history, and he topped the ICC Test batting rankings in May 2002.
Gilchrist warmed up for the World Cup in South Africa by scoring 310 runs at 44.28 in the triangular tournament in Australia against England and Sri Lanka. His performances over the past year were recognised with the Allan Border Medal.
2003 World Cup
Gilchrist played in all but one of the matches in Australia's successful defence of their World Cup title; he was rested for the group match against the Netherlands. He finished the tournament with 408 runs at an average of 40.80 at a strike rate of 105. He scored four half-centuries, and was run out against Sri Lanka in the Super Six stage just a single run short of a century. In the semi-final, he scored 22 before being caught off an inside-edge onto pad off the bowling of Aravinda de Silva. The umpire gave no reaction, however Gilchrist walked off the pitch after a moment's pause. In 2009 it was described as an "astonishing moment" drawing criticism from England's Angus Fraser, who "objected to him being canonised simply for not cheating", and from others who "thought that he walked almost by accident; that having played his shot he overbalanced in the direction of the pavilion." His actions nevertheless drew praise from the majority. In the final, India elected to field first and Gilchrist hammered 57 from 48 balls, featuring in a century opening stand with Hayden to seize the initiative. This laid the foundation for Australia's 2/359 and a crushing 125-run win, ending an unbeaten campaign. Gilchrist was also the competition's most successful wicketkeeper, making 21 dismissals.
Success in the World Cup was followed up by a tour of the West Indies where Gilchrist was part of a side that won both the ODI and Test series. He scored 282 runs at 70.50 with one century in the four Tests, and 212 runs at 35.33 in the ODIs. The Australians then defeated a touring Bangladeshi cricket team in short series in both forms of the game. Gilchrist was only sporadically required with the bat.
Decline and revival
After scoring his first Test century at his home ground in Perth, an unbeaten 113 against Zimbabwe, Gilchrist's Test form dipped again during the 2003–04 season, with only 120 runs coming in the next 10 innings, during the home series against India (drawn 1–1) and the away series in Sri Lanka (won 3–0). However, he returned to form in the Second Test Kandy, scoring a quickfire 144 in the second innings to set up a 27-run win after Australia conceded a 91-run first innings lead.
However, he maintained high standards in ODIs during this period, including 111 against India in Bangalore, 172 against Zimbabwe, just one run short of Mark Waugh's Australian record, and two further half-centuries in the VB Series in Australia. His success in One-day cricket was underlined by his rise to the top of the ICC ODI batting rankings in February 2004. However, he was unable to maintain this form on the 2004 tours of Sri Lanka, Zimbabwe and the Champions Trophy in England, accumulating 253 runs at 28.11 in 11 innings.
Gilchrist then scored 115 runs at 28.75 in two Tests at home to Sri Lanka in mid-2004, and captained in the First Test win in Darwin with Ponting absent. Australia won the series 1–0.
A 104 in the First Test against India in October 2004 proved to be a false renaissance; he scored only 104 runs in the remaining seven innings on the Indian tour and 139 runs in eight ODI innings towards the end of the 2004–05 season, which formed the lowest average period of Gilchrist's career until 2007. He took the captaincy of the Test team once again, in place of the injured Ricky Ponting, and led the Australian side to a historic 2–1 series victory in India, a feat last achieved in 1969. Ponting recovered to lead the team in the Fourth Test, Australia's only loss.
Gilchrist returned to form when New Zealand toured Australia at the start of southern hemisphere season. He scored 126 and 50 in the 2–0 Test series clean sweep and scored fifties in both ODIs. He then scored 230 runs at 76.66 in three Tests against Pakistan, including a rapid 113 in the Third Test at the SCG as Australia won all five Tests during the summer. He made it three successive Test centuries with 121 and 162 in the first two Tests on the tour of New Zealand, before ending with an unbeaten 60 in the Third Test; he totalled 343 runs at 114.33 for the series. His ODI form in the early part of 2005 remained moderate, with 308 runs at 28.00 during the southern summer.
Gilchrist was in strong form ahead of the Tests, scoring 393 runs at 49.13 in the ODIs in England. The highlight was the 121 not out in the final game of the one-day NatWest Series, Gilchrist being awarded the man-of-the-match award. However, he performed poorly in the five Tests, with 204 runs at 25.50. Just as in India in 2001, Australia lost 2–1.
Australia and Gilchrist returned to form after the Ashes in the series against the ICC World XI. Gilchrist scored 45, 103 and 32 as Australia swept the ODIs 3–0, and top-scored with 94 in the first innings of the one-off Test, which Australia won. However, this did not transfer into the regular international matches. In six home Tests against the West Indies and South Africa in 2005–06, Gilchrist managed only 190 runs at 23.75, but Australia was unhindered, winning 3–0 and 2–0 respectively.
His one-day form also began to suffer, scoring only 11 runs in three ODIs in New Zealand and 13 in the first two matches of the VB Series. He was rested for two games and returned to form against Sri Lanka on 29 January 2006 on his home ground, the WACA, hitting 116 runs off 105 balls to lead Australia to victory. He continued in this vein with the fastest ever century by an Australian in just 67 balls against Sri Lanka at the Gabba, ending with 122 as Australia won the deciding third final by nine wickets. After a slow start, he ended the series with 432 runs at 48.00.
The purple patch ended on the tour of South Africa and then Bangladesh. He scored 206 runs at 29.42 in five Tests and 248 runs at 35.42 in eight ODIs, inflated by a 144 in the First Test against Bangladesh. Despite this, Australia won all five Tests. Gilchrist scored 130 runs at 26.00, including a 92 against the West Indies as Australia won the 2006 Champions Trophy in India.
On 16 December 2006, during the Third Ashes Test at the WACA, Gilchrist scored a century in 57 balls, including twelve fours and four sixes, which at the time was the second fastest recorded Test century. At 97 runs from 54 balls, Gilchrist needed three runs from the next delivery to better Viv Richards' record set in 1986. The ball delivered by Matthew Hoggard was wide and Gilchrist was unable to score from it.
He later claimed that the "batting pyrotechnics" had been the result of a miscommunication between Michael Clarke and him with the Australian captain Ricky Ponting; Gilchrist had actually been told not to score quick runs with a view to declaring the innings.
He ended the 2006–07 Ashes with a century and two fifties, totalling 229 runs at 45.80 at a strike rate of over 100 as Australia regained the Ashes with a 5–0 whitewash. It was an inconsistent series; aside from three scores mentioned, Gilchrist failed to pass one in his other three innings. Between Ashes series, Gilchrist had averaged only 25 with one Test century.
However, both he and Australia suffered a surprising string of poor results in the 2006–07 Commonwealth Bank Series, Gilchrist managing an average of only 22.20 during the tournament. Australia won seven of their eight qualifying matches, but England won with two finals victories over the Australians. Gilchrist scored 60 and 61 in the first two matches but did not pass 30 thereafter. He was then rested for Australia's winless three-match ODI tour of New Zealand, before his selection for the 2007 Cricket World Cup. Having previously indicated that it was highly likely that he would retire after the 2007 World Cup, he then stated a desire to play on afterwards.
2007 World Cup
Gilchrist and Australia started their 2007 World Cup campaign by winning all three of their matches in Group A, against Scotland, the Netherlands and South Africa. Australia won all six of their matches in the Super8 stage with little difficulty—the margins of victory exceeded 80 runs or six wickets in every instance. They topped the table and thus qualifying for a semi-final rematch against fourth-placed South Africa. Gilchrist opened the Australian batting in each match, taking a pinch-hitting role in the opening powerplays. Initially successful in the group matches, scoring 46, 57 and 42, he failed in the first Super8 match against West Indies (7), but bounced back to score a second half-century (59 not out) in a ten-wicket victory against Bangladesh in a match drastically shortened due to rain. After a run of middling scores, he failed again in the final Super8 match against New Zealand.
As a batsman, Gilchrist was dismissed for a single run in the semi-final against South Africa, despite which Australia won by seven wickets. Gilchrist opened the batting against Sri Lanka in the final. This was Gilchrist's third successive World Cup final, and the third time he scored at least 50 runs in a World Cup final and he went on to make his only ever century in a world cup match (his previous best World Cup score having been 99 against Sri Lanka in the 2003 tournament). Gilchrist went on to score 149 runs off 104 balls with thirteen fours and eight sixes, the highest individual score in a World Cup final, eclipsing his captain Ricky Ponting's score of 140 in the 2003 final. Australia won and he was named the man of the match. Subsequently there has been some controversy over Gilchrist's use of a squash ball inside his glove during this innings.
The MCC stated that Gilchrist had not acted against the laws or the spirit of the game, since there is no restriction against the external or internal form of batting gloves.
In September 2007, Gilchrist played in the inaugural World Twenty20. He scored 169 runs at 33.80 as Australia were knocked out by India in the semifinals. Gilchrist then scored 208 runs at 34.66 as Australia took an away ODI series against India 4–2. In November, Gilchrist's peers voted him the greatest Australian ODI cricketer ever, for which he was awarded an honour at an ACA function before Australia's second Test against Sri Lanka. He was only required to bat once in the Tests, and made 67 not out as Australia swept Sri Lanka aside 2–0.
Retirement
On 26 January 2008 during the 4th and final Test of the 2007–08 series against India, Gilchrist announced that he would retire from international cricket at the end of the season. A back injury kept Ricky Ponting off the field for sections of the Indian's second innings, resulting in Gilchrist captaining the team for part of the final two days of his Test cricket career. India batted out the match for a draw, so Gilchrist's 14 in the first innings was his final Test innings; he took his 379th and final catch when Virender Sehwag was caught behind. Gilchrist had scored only 150 runs at 21.42 in his final Test series.
John Buchanan, who coached Australia during most of Gilchrist's international career, predicted that Gilchrist's retirement would have more impact than the previous year's retirements of Damien Martyn, Glenn McGrath, Shane Warne and Justin Langer and Australian Prime Minister Kevin Rudd asked Gilchrist to reconsider. Gilchrist later revealed that he chose to retire after dropping VVS Laxman during the first innings, and realising that he had lost his "competitive edge." He played out the summer's ODI series, before ending in disappointment when India beat Australia 2–0 in the 2007–08 Commonwealth Bank Series finals. Gilchrist managed only seven and two in the finals. His highlight of the series was his scoring 118 and being named Man of the Match in his final match at his adopted home in Perth on 15 February 2008, against Sri Lanka. He ended his final series with 322 runs at 32.20.
Playing style
Gilchrist's attacking batting was a key part of Australia's one-day success, as he usually opened the batting. He was a part of the successful 1999, 2003 and 2007 Cricket World Cup campaigns. Gilchrist's Test batting average in the upper 40s is unusually high for a wicket-keeper. He retired from Test cricket at 45th on the all–time list of highest batting averages. At the end of his Test career he had established a Test strike-rate of 82 runs per hundred balls, at the time the third highest since balls were recorded in full. His combination of attack and consistency create one of the most dynamic world cricketers ever, playing shots to all areas of the field with uncommon timing. He was second on the all-time list of most sixes in Tests at 100 with only Brendon McCullum ahead of him with 107. Gilchrist's skills as a wicket-keeper were sometimes questioned; some claimed that he was the best keeper in Australia whilst others that Victorian wicket-keeper Darren Berry was the best Australian wicket-keeper of the 1990s and early 2000s. Gilchrist attributed his batting techniques from early training with his father, where he would defend shots, sometimes only gripping the bat with his top (right) hand, and would end a session to simply play attacking shots with tennis balls to end on a positive and fun note. He also adopted a naturally high grip where both hands were closer to the end of the handle for more top hand control.
Gilchrist successfully kept wicket for fast bowlers Glenn McGrath and Brett Lee for most of his international career. His partnerships with McGrath and Lee are second and fourth respectively in both test and ODI history for the number of wickets taken. With Alec Stewart and Mark Boucher, he shares the record for most catches (6) by a wicketkeeper in a ODI match, having achieved this feat five times. In 2007 he took six dismissals and scored a half century in the same ODI for the second time; he remains the only player to do so even once. At Old Trafford in August 2005, he passed Alec Stewart's world record of 4,540 runs as a Test wicketkeeper, and at his retirement in 2008, he was the most successful ODI wicket-keeper with 472 dismissals (417 catches and 55 stumpings), more than 80 dismissals ahead of his closest rival, Mark Boucher. This record was surpassed seven years later by Kumar Sangakkara.
Walking and discipline
It is unusual for professional batsmen to "walk"; that is, to agree that they have been dismissed and leave the field of play without waiting for (or contrary to) an umpire's decision. Gilchrist reignited this debate by walking during a high-profile match, the 2003 World Cup semi-final against Sri Lanka, after the umpire ruled him to be not out. He has since proclaimed himself to be "a walker", or a batsman who will consistently walk, and has done so on numerous occasions. On one occasion against Bangladesh, Gilchrist walked but TV replays failed to suggest any contact between his bat and the ball. Without such contact, he could not have been caught out.
Gilchrist's actions have sparked debate amongst current and former players and umpires. Ricky Ponting has declared on several occasions that he is not a walker but will leave it to each player to decide whether they wish to walk or not. While no other Australian top order batsmen have expressly declared themselves to be walkers, lower-order batsmen Jason Gillespie and Michael Kasprowicz both walked during Test matches in India in 2004. In 2004, New Zealand captain Stephen Fleming accused Gilchrist of conducting a "walking crusade" when Craig McMillan refused to walk after Gilchrist had caught him off an edge from the bowling of Jason Gillespie in the First Test in Brisbane. After the appeal was turned down by the umpire, who did not hear the edge, Gilchrist goaded McMillan about the edge, and McMillan's angry response was picked up by the stump microphone: "...not everyone is walking, Gilly ... not everyone has to walk, mate...". The taunt was effective, however, as McMillan, perhaps distracted, missed the next ball and was given out leg before wicket. Gilchrist said in his autobiography that he had "zero support in the team" for his stance and that he felt that the topic made the dressing room uncomfortable. He added that he "felt isolated" and "silently accused of betraying the team. Implicitly I was made to feel selfish, as if I was walking for the sake of my own clean image, thereby making everyone else look dishonest."
Gilchrist has been noted for his emotional outbursts on the cricket field, and has been fined multiple times for dissent against umpiring decisions. In January 2006, he was fined 40% of his match fee in an ODI against South Africa. In another instance, in early 2004 in Sri Lanka, Gilchrist audibly argued with umpire Peter Manuel after batting partner Andrew Symonds was given out. After the argument concluded, Manuel consulted umpiring partner Billy Bowden and reversed his decision, recalling Symonds to the crease. Gilchrist was also reprimanded by the Australian Cricket Board for publicly questioning the legality of Muttiah Muralitharan's bowling action in 2002, as his comments were found to be in breach of the clause in the player code of conduct relating to "detrimental public comment".
During the 2003 World Cup, Gilchrist accused Pakistani wicketkeeper Rashid Latif of making a racist remark towards him while the latter was batting in their group match. Latif who was cleared by match referee Clive Lloyd, threatened to sue Gilchrist for this claim.
Achievements
Awards
Gilchrist was one of five Wisden Cricketers of the Year for 2002, and Australia's One-day International Player of the Year in 2003 and 2004. He was awarded the Allan Border Medal in 2003, and was the only Australian cricketer who was a current player at the time to have been named in "Richie Benaud's Greatest XI" in 2004. He was selected in the ICC World XI for the charity series against the ACC Asian XI, 2004–05, was voted as "World's Scariest Batsman" in a poll of international bowlers, and was named as wicket-keeper and opening batsman in Australia's "greatest ever ODI team." In a poll of over ten thousand people hosted in 2007 by ESPNcricinfo, he was voted the ninth greatest all-rounder of the last one hundred years. A panel of prominent cricket writers selected him in Australia's all-time best XI for ESPNcricinfo.
Gilchrist has not only left his mark on Australian cricket but the whole cricketing world.
In 2010, Gilchrist was made a Member of the Order of Australia (AM) for his services to cricket and the community. He was inducted into the Sport Australia Hall of Fame in 2012. On 9-December-2013, ICC announced that they had inducted Gilchrist in the prestigious ICC Hall of Fame. He was named an Australia Post Legend of Cricket in 2021.
Test match performance
ODI highlights
Career best performances
Autobiography
Gilchrist's autobiography True Colours, published in 2008, was the subject of much controversy. Gilchrist questioned the integrity of leading Indian batsman Sachin Tendulkar in relation to the evidence he presented in the Monkeygate dispute, which was about allegations of racism against Harbhajan Singh. The autobiography said that Tendulkar told the first hearing that he could not hear what Harbhajan said to Andrew Symonds; Gilchrist said that he was "certain he "Tendulkar" was telling the truth" because he was "a fair way away". Gilchrist then questioned why Tendulkar then agreed with Harbhajan's claim at the second hearing that the exchange was an obscenity, and concluded that the process was "a joke". He also raised questions over Tendulkar's sportsmanship and said he was "hard to find for a changing-room handshake after we have beaten India".
There was a backlash in India, which forced Gilchrist to clarify his position. Gilchrist later insisted that he did not accuse Tendulkar of lying in his testimony. He also denied calling the Indian a "bad sport" in regards to the handshake issue. Tendulkar responded by saying that "those remarks came from someone who doesn't know me enough. I think he made loose statements...I reminded him that I was the first person to shake hands after the Sydney defeat." The autobiography also blamed the ICC for allowing Sri Lankan cricketer Muralitharan to bowl; Gilchrist believes that ICC changed the throwing law to legitimise a bowling action that he regards as illegitimate. The law change was described as "a load of horse crap. That's rubbish." Gilchrist claimed that Muralitharan threw the ball and alleged that the ICC protected him because Sri Lankan cricket authorities portrayed any criticism of the bowler's legitimacy as racism and a witchhunt conducted by whites. In response to these comments, former Sri Lankan captain Marvan Atapattu said that by questioning the credentials of players like Muralitharan and Tendulkar, Gilchrist had done no good to his own reputation.
Charity, media, business career and political work
Outside cricket, Gilchrist is an ambassador for the charity World Vision in India, a country in which he is popular due to his cricketing achievements, and sponsors a boy whose father has died. He was approached in early 2005 by the US baseball franchise, the Boston Red Sox, with a view to him playing for them when his cricket career ended. However, he was selected for the 2007 Cricket World Cup and announced his retirement from Test and One-Day cricket in early 2008.
In March 2008, Gilchrist joined the Nine Network. Gilchrist has appeared as one of a panel of revolving co-hosts for the revived Wide World of Sports Weekend Edition. He made his debut on the program in March 2008, and commentates on Nine's cricket coverage during the Australian summer. In 2013 Gilchrist joined Ricky Ponting and various other names in cricket to commentate for Channel Ten in the third series of the Big Bash League.
As Amway Australia Ambassador, Gilchrist has played a role in many of their charity events. In August 2010, he presented the Freedom Wheels program, an initiative to provide modified bikes to kids with disabilities, a cheque for $20,000.
Gilchrist was the chair of the National Australia Day Council from 2008 to 2014. In 2008, Gilchrist supported debate on whether Australia Day should be moved to a new date because the current date marks British settlement of New South Wales and is offensive to many Aboriginal Australians.
Gilchrist has had a number of company directorships outside of cricket. His appointment to the board of ASX listed sandalwood company TFS Corporation, committee member of Commonwealth Business Forum in Perth and director of Travelex. The appointment to TFS Corporation was not without controversy when as a board member of TFS he was named as a plaintiff suing his own TFS shareholders for defamation
Gilchrist also plays himself on the Australian comedy series, How to Stay Married.
References
Books
External links
1971 births
Living people
Australia Test cricket captains
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian Institute of Sport cricketers
Deccan Chargers cricketers
ICC World XI One Day International cricketers
Punjab Kings cricketers
Middlesex cricketers
New South Wales cricketers
Western Australia cricketers
Cricketers at the 1998 Commonwealth Games
Cricketers at the 1999 Cricket World Cup
Cricketers at the 2003 Cricket World Cup
Cricketers at the 2007 Cricket World Cup
Cricketers from New South Wales
Allan Border Medal winners
Articles containing video clips
Australian cricket commentators
Australian Cricket Hall of Fame inductees
Commonwealth Games medallists in cricket
Commonwealth Games silver medallists for Australia
Indian Premier League coaches
Members of the Order of Australia
People from the Mid North Coast
Sport Australia Hall of Fame inductees
Western Australian Sports Star of the Year winners
Wisden Cricketers of the Year
Wicket-keepers | false | [
"Dobrý anjel (translated from Slovak as Good Angel) is a non-profit charitable organization founded by Igor Brossmann and Andrej Kiska in 2006. This organization tries to help families with children that are in a difficult financial situation due to a serious disease (such as cancer) of its member. The donors, called good angels, donate regularly any amount of money they want to and can check how their money is being spent by seeing the recipient and the amount that was donated.\n\nUp to 19 March 2014, more than 140,000 people have donated € to this organization.\n\nReferences\n\nExternal links\nOfficial Website\n\n2006 establishments in Slovakia\nPeer-to-peer charities\nChildren's charities based in Slovakia",
"In Kind Direct is a charity in the United Kingdom founded in 1996 by the Prince of Wales. The charity distributes new donated usable consumer goods from manufacturers and retailers to British charities working both domestically and abroad. The Prince of Wales is In Kind Direct's Royal founding patron. Robin Boles was In Kind Direct's CEO from 1996 until her retirement 2019. The role of CEO was taken on by Rosanne Gray in December 2019. \n\nSince 1996, the charity has distributed £297 million in value of goods from more than 1,257 companies. 11,655 charities and not-for-profit organisations have received products via In Kind Direct, helping millions of people in need every year.\n\nOperations \n\nIn Kind Direct provides a single contact point for companies with new goods to donate. The charity has the logistics infrastructure to handle and store large quantities of goods and distribute them to charities. In Kind Direct accepts all kinds of stock including: pristine products, end of lines, slight seconds, samples, items with damaged packaging and returns. In Kind Direct uses an online catalogue which resembles a commercial retail website, but is only accessible to not-for-profit organisations.\n\nIn Kind Direct works for the public benefit by ensuring that the expenditure of other charities on essential goods is reduced, thus stretching their scarce resources and enabling them to help millions of people in need at home and abroad, while reducing environmental damage by diverting surplus product from landfill.\n\nBy opening up access to high quality products for charities with limited budgets, In Kind Direct enables charities to improve the service they offer, do more for their beneficiaries and help people they may not otherwise reach. Responding to In Kind Direct's 2020 Impact Survey, charitable organisations said that on average they are able to help twice as many people with In Kind Direct's support. 72% of charitable organisations said that they will use products from In Kind Direct to keep people clean and safe during the current pandemic.\n\nBrand protection issues \n\nIn Kind Direct addresses brand protection concerns by thoroughly vetting all organisations within its network and monitoring distribution carefully to ensure products are used for charitable purposes and to prevent stockpiling. Charities must contractually agree not to sell, trade or barter with the goods received from In Kind Direct.\n\nThe charity tracks all donations, has robust processes for investigating any possible breaches of these rules and reports back to funders and donors as to where the products have gone with case studies showing the impact made.\n\nExamples of charity partners \n\nIn Kind Direct's 11,476 charity partners include:\n\nInternational network \n\nIn 2013 In Kind Direct was the founding member of a new charity, In Kind Direct International (IKDI). IKDI was established to set up a network of charities from a growing number of countries, all distributing donated surplus new goods from donors to charities, not for profit organisations, associations and social enterprises. Members of the IKDI Network work together to share information about donations and to share knowledge and expertise to enable goods to be distributed to charities and their beneficiaries in the most effective way. This network consists of three members : In Kind Direct in the United Kingdom, Innatura in Germany and Dons Solidaires in France. IKDI is currently seeking to expand into Northern Europe and Asia.\n\nSources \n\nCharities based in London\nEnvironmental organisations based in London\nOrganizations established in 1996\nThe Prince's Charities\n\nExternal links"
]
|
[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond"
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | what does st. francis have to do with olivier messiaen? | 1 | what does st. francis have to do with olivier messiaen? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | In 1971, he was asked to compose a piece for the Paris Opera. | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | false | [
"Saint François d'Assise : Scènes Franciscaines (English: Franciscan Scenes of Saint Francis of Assisi), or simply Saint François d'Assise, is an opera in three acts and eight scenes by French composer Olivier Messiaen, who was also its librettist; written from 1975 to 1979, with orchestration and copying from 1979 to 1983. It concerns Saint Francis of Assisi, the titular character, and displays Messiaen's devout Catholicism. \n\nThe composer's only opera, its première was given by the Paris Opera at the Palais Garnier on 28 November 1983, however it was published eight years later in 1991. The work is considered the composer's magnum opus.\n\nComposition history\nDespite his studies of Mozart and Wagner operas and his famous fascination with Debussy's Pelléas et Mélisande, Messiaen thought he would never compose an opera. When Rolf Liebermann, general manager of the Paris Opera, commissioned an opera from Messiaen in 1971 the composer refused. Messiaen changed his mind when Liebermann arranged that he be a guest at a dinner at the Elysée Palace, hosted by then French President Georges Pompidou; at the end of the dinner Pompidou said: \"Messiaen, you will write an opera for the Opéra de Paris!\". In searching for subject matter, Messiaen pondered dramatizing either Christ's Passion or his Resurrection. Feeling unworthy of either subject, he eventually chose to dramatize the life of Saint Francis of Assisi, which paralleled Christ's chastity, humility, poverty, and suffering; Messiaen commenting that he \"resembled Christ's life the most\" and was also, like him, \"a friend of the birds\".\n\nThe process of writing the opera took its toll on the composer. Initially, Messiaen set to work and he made rapid progress as it became the sole object of his musical attention. He had also traveled to Italy to search for inspirations, including examining paintings, frescoes, and paying respects at the Basilica of Saint Francis of Assisi. \n\nBy 1977, he contacted the general manager of the Paris National Opera to say he was ready to play through an unorchestrated version of the opera. Messiaen could not envisage orchestrating the opera by 1980, and adding to the pressure on Messiaen, there was a leak on the radio that he was writing an opera about Saint Francis. This revelation transgressed Messiaen's normal practice of secrecy when composing.\n\nMessiaen appealed for a deadline extension in 1979. The new date was agreed to be 1983; however, Messiaen's health was now beginning to deteriorate. In 1981 he had several periods of ill-health, and Messiaen once again doubted that he would finish according to plan. Messiaen began to suffer from depressions, and by December 1981 he felt unable to go on. However, his doctor advised him to take daily walks to increase his well being and he began to attend evening mass at the Sacre Coeur. This encouraged Messiaen to go on and complete the work, though by completion it had left its mark and he was still convinced it would be his last.\n\nLibretto\nFor maximum artistic freedom, Messiaen penned both libretto and score. For nearly eight years, the composer consulted Franciscan sources, reading biographies by Thomas of Celano and St. Bonaventure, as well as Francis' own prayers (including Canticle of the Sun). He also cited passages from the Fioretti, Considerations on the Stigmata and the Bible. The libretto is in the French language.\n\nIn order to focus on the progress of grace in Francis's soul after his conversion, Messiaen omitted certain episodes in the protagonist's life, including the often-romanticised relationship between Francis and St Clare, and the fable of his taming of a wild wolf at Gubbio.\n\nCritics later chastised Messiaen for beginning the action after Francis’s conversion. The composer defended his choice in an interview with Claude Samuel: \"Some people have told me, 'There's no sin in your work.' But I myself feel sin isn't interesting, dirt isn't interesting. I prefer flowers. I left out sin.\"\n\nThe opera's eight scenes, divided into three acts, delineate Francis’s spiritual development. Act One contains scenes in which he realizes his goals: \"La Croix\" (The Cross), \"Les Laudes\" (Lauds) and \"Le Baiser au Lépreux\" (The Kissing of the Leper). Act Two shows Francis's journey towards enlightenment, ministry and divinity: \"L’Ange voyageur\" (The Journeying Angel), \"L’Ange musicien\" (The Angel Musician) and \"Le Prêche aux oiseaux\" (The Sermon to the Birds). The scenes of Act Three explore the saint's approach to divinity and his entrance into eternity: \"Les Stigmates\" (The Stigmata) and \"La Mort et la Nouvelle Vie\" (Death and the New Life).\n\nPerformance history\nAfter the 1983 world premiere at the Palais Garnier, Saint François was not staged for almost a decade. The opera was presented on stage again by the 1992 Salzburg Festival (at the Felsenreitschule), directed by Peter Sellars with Esa-Pekka Salonen conducting the Los Angeles Philharmonic in the orchestra pit. This production was revived in 1998, again at the Salzburg Festival. Productions at Oper Leipzig (1998) and at the Deutsche Oper Berlin (2002) followed. The American premiere took place at the San Francisco Opera in 2002. Since then, the opera was presented in staged productions by the RuhrTriennale at the Jahrhunderthalle in Bochum (2003, also shown in the Madrid Arena in Spain in 2011), by the Opéra National de Paris at the Opéra Bastille in Paris (2004), by the Muziektheater in Amsterdam (2008), by the Bavarian State Opera in Munich (2011, directed by Hermann Nitsch), and by Staatstheater Darmstadt (2018).\n\nRoles\n\nSynopsis\nPlace: Italy. \nTime: 13th century.\n\nThe subject of each scene is borrowed from the Fioretti and the Reflexions on the Stigmata, books written by anonymous Franciscans of the 14th century. There are seven characters: Saint Francis, the Leper, the Angel, Brother Elias, and three Brothers especially beloved of Saint Francis—Brother Leo, Brother Masseo, and Brother Bernard. Throughout the work one can see the progress of grace in the soul of Saint Francis.\n\nAct 1\nScene 1: The Cross\n\nAfter a short instrumental introduction, Saint Francis explains to Brother Leo that for the love of Christ he must patiently endure all contradictions, all suffering. This is the \"Perfect joy.\"\n\nScene 2: Lauds\n\nAfter the recitation of Matins by the Brothers, Saint Francis, remaining alone, prays that he might meet a leper and be capable of loving him.\n\nScene 3: The Kissing of the Leper\n\nAt a leper-hospital, a leper, horribly blood-stained and covered in pustules, rails against his disease. Saint Francis enters and, sitting close to him, speaks gently. An angel appears behind a window and says: \"Leper, your heart accuses you, but God is greater than your heart.\" Troubled by the voice and by the goodness of Saint Francis, the leper is stricken with remorse. Saint Francis embraces him and, miraculously, the leper is cured and dances for joy. More important than the cure of the leper is the growth of grace in the soul of Saint Francis and his exultation at having triumphed over himself.\n\nAct 2\nScene 4: The Journeying Angel\n\nOn a forest road on La Verna an angel appears, disguised as a traveler. His knocking on the door of the monastery makes a terrific sound, symbolising the inrush of Grace. Brother Masseo opens the door. The Angel asks Brother Elias, the vicar of the Order, a question about predestination. Brother Elias refuses to answer and pushes the Angel outside. The Angel knocks on the door again and puts the same question to Brother Bernard, who replies with much wisdom. The Angel having gone, Brother Bernard and Brother Masseo look at each other, Bernard remarking, \"Perhaps it was an angel...\"\n\nScene 5: The Angel-Musician\n\nThe Angel appears to Saint Francis and, to give him a foretaste of celestial bliss, plays him a solo on his viol. This solo is so glorious that Francis swoons.\n\nScene 6: The Sermon to the Birds\n\nSet at Assisi, at the Carceri, with a large green oak tree in spring with many birds singing. Saint Francis, followed by Brother Masseo, preaches a sermon to the birds and solemnly blesses them. The birds reply with a great chorus in which are heard not only birds of Umbria, especially the blackcap, but also birds of other countries, of distant lands, notably the Isle of Pines, close to New Caledonia.\n\nAct 3\nScene 7: The Stigmata\n\nOn La Verna at night in a cave beneath an overhanging rock, Saint Francis is alone. A great Cross appears. The voice of Christ, symbolized by a choir, is heard almost continually. Five luminous beams dart from the Cross and successively strike the two hands, the two feet, and the right side of Saint Francis, with the same terrific sound that accompanied the Angel's knocking. These five wounds, which resemble the five wounds of Christ, are the divine confirmation of Saint Francis's holiness.\n\nScene 8: Death and the New Life\n\nSaint Francis is dying, stretched out at full length on the ground. All the Brothers are around him. He bids farewell to all those he has loved, and sings the last verse of his Canticle of the Sun, the verse of \"our sister bodily Death\". The Brothers sing Psalm 141. The Angel and the Leper appear to Saint Francis to comfort him. Saint Francis utters his last words: \"Lord! Music and poetry have led me to Thee [...] in default of Truth [...] dazzle me for ever by Thy excess of Truth...\" He dies. Bells ring. Everything disappears. While the choir hymns the Resurrection, a patch of light illuminates the spot where the body of Saint Francis previously lay. The light increases until it becomes blinding; the choir altogether singing the word \"joy\". The curtain falls.\n\nMusical elements\nMessiaen's wealth of experience as an orchestral composer manifests itself in Saint François d’Assise. In fact, Messiaen devotes a great majority of the opera's running time to orchestral music, though not to the detriment of character development. The composer reflects the characters' psychological and emotional state through the use of leitmotif and birdsong.\n\nLeitmotif\nSeveral leitmotifs exist in the orchestral score, most of which connect to one or more characters.\n\nDeath (or \"J’ai peur\")\nThe dramatic action of the opera begins with the entrance of Brother Leo, who sings the \"death\" motif to words taken from the end of Ecclesiastes: \"I am afraid on the road, when the windows grow larger and more obscure, and when the leaves of the poinsettia no longer turn red.\" \"I am afraid on the road, when, about to die, the tiare flower is no longer perfumed. Behold! The invisible, the invisible is seen…\" This theme repeats nearly every time Leo enters, and the orchestra accompanies it with lazy glissandos in the strings.\nPerfect Joy (\"la joie parfaite\")\nFrancis answers Leo's introspection with the \"perfect joy\" motif, a combination of Trumpet in D, xylophone and woodwinds. This motif reoccurs several times throughout the piece. In some cases, Brother Leo's \"death\" motif alternates with Francis' \"perfect joy\" motif.\nSolemnity\nMessiaen linked Francis' moments of great solemnity with quite possibly the most pervasive motif of the opera. It is structured as a tone cluster in the trombone section, creating an ominous, harsh sound. The motif is quite evident in the second scene, wherein Francis asks God to let him meet a leper: \"Fais-moi rencontrer un lépreux.\" The tone clusters break up his line of text: \"Fais-moi\"—cluster—\"rencontrer\"—cluster—\"un lépreux.\"\nGrace\nDuring Scene Four at La Verna, the Angel knocks on the monastery door. Messiaen represents the knocking with a motif heavy pounding sounds in the percussion and strings. He saw these knocks as an entry of grace—a force one must not resist. The Angel's knocking foreshadows Francis' eventual acceptance of the stigmata during Scene Seven. The main difference in Scene Seven is that the motif represents the painful, brutal pounding of nails into Christ's body.\n\nBirdsong\nMessiaen considered himself an ornithologist, and his love for birds is evident in the opera. The composer traveled to the saint's native Assisi, as well as New Caledonia, to research and record birdcalls of several local species, later transcribing them into melodies for use as musical themes attached to particular characters.\n\nFrançois – Capinera (Italian for \"Blackcap\")\nUpon entering caves at the Carceri (just east of Assisi), Messiaen heard the call of the capinera. Francis often retreated to these caves for meditation and prayer, thus the choice of the capinera is fitting.\nL’Ange – Gerygone\nThis yellow-bellied warbler from New Caledonia signals nearly every entrance and exit of the Angel. Messiaen scored the gerygone with a staccato piccolo alternating with glockenspiel and xylophone. In some cases, the kestrel birdcall accompanies the gerygone.\nFrère Elie – Notou\nFrancis' most contrarian brother, Elias, receives the birdcall of this \"gloomy sounding pigeon\" from New Caledonia.\nFrère Bernard – Philemon (or \"friarbird\")\nThe philemon birdcall (most likely recorded in New Caledonia) reflects Bernardo's age and wisdom while punctuating his musical and textual phrases.\n\nMessiaen devotes the entire sixth scene (\"La Prêche aux oiseaux\" or, The Sermon to the Birds) to all manner of birdsong as Francis delivers his famous sermon with Brother Masseo in attendance.\n\nOrchestra\nMessiaen's full orchestration requires more than 110 musicians, placing great demands on budgets as well as orchestra pit space. At the Palais Garnier, the overflow of players were placed in boxes adjacent to the stage.\n\n Woodwinds: 3 piccolos, 3 flutes, 1 alto flute, 3 oboes, 1 English horn, 2 E clarinets, 3 clarinets, 1 bass clarinet, 1 contrabass clarinet, 3 bassoons, 1 contrabassoon\n Brass: 6 horns in F, 1 small trumpet in D, 3 trumpets, 4 trombones, 2 bass tubas, 1 contrabass tuba\n Strings: 16 first violins, 16 second violins, 14 violas, 12 cellos and 10 double basses\n Percussion (5 players): \n Player 1: bells, claves, eoliphone, snare drum \n Player 2: triangle, claves, 6 temple blocks, very small cymbal, small cymbal, suspended cymbal \n Player 3: triangle, claves, wood block, whip, a pair of maracas, a reco reco or guiro, glass chimes, shell chimes, wood chimes, tambourine, 3 gongs \n Player 4: triangle, claves, set of crotales, large suspended cymbal, suspended cymbal, medium tom-tom, low tom-tom, 3 tam-tams \n Player 5: set of bells, metal sheet, claves, geophone, eoliphone, bass drum\n\nIn addition to these, pitched percussion instruments are also used: one xylophone, one xylorimba, one marimba, one glockenspiel and one vibraphone, as well as three Ondes Martenot which the composer described in his interview with Claude Samuel as being 'very rare in an opera!'.\n\nChorus\nThe opera requires a ten-part, 150-voice choir, which serves a twofold role: Greek chorus and divine presence. Throughout the piece, the chorus comments on Francis' spiritual journey. The first three scenes include a commentary on the preceding plot action with a \"moral.\" For example, after Francis' conversation with Leo on \"perfect joy\", the chorus sings the text \"He who would walk in my steps, let him renounce himself, take up his Cross and follow me.\" One could say that this text carries a double purpose—the moral is not only sung, but comes from the mouth of Christ. In the latter scenes of the opera, especially The Stigmata, the chorus perpetuates its image as Christ speaking directly to Francis as He bestows the wounds onto the saint. Messiaen's choral writing, especially the violent, wordless chants during The Stigmata, suggests a mystical, otherworldly presence.\n\nColor\nMessiaen's synesthesia caused a perception of colors associated with particular harmonies or musical scale degrees. For instance, when hearing a C-natural on the piano, the composer saw \"white\" before his eyes. In the opera, Messiaen underscores the final moments (Francis' death and ascent into heaven) on a C major chord structure, providing a musical burst of white light. It is unclear whether this final chord structure was coincidental or intentional.\n\nMessiaen's other research\nMessiaen traveled to Italy not merely for birdcall research. In Assisi, he visited the Basilica of Saint Francis to study the Giotto frescoes. During rehearsal for the premiere production, the composer coached baritone José van Dam (creator of the title role) in some of the gestures and attitudes evoked on the Giotto masterpieces. Messiaen also made a side trip to Florence. While in the monastery of San Marco, he found inspiration for the Angel's costume in one of several paintings of the Annunciation by Fra Angelico. As a result, the libretto includes a costume note on the exact shade of the Angel's robe (as dictated by the original artwork): a pinkish mauve between lilac and salmon.\n\nRecordings and broadcasts\nFour recordings of the opera exist, three of which are complete:\nOzawa (1983): Conductor Seiji Ozawa recorded the world première production with the orchestra and chorus of the Théâtre national de l'Opéra de Paris. Cast members included José van Dam in the title role with soprano Christiane Eda-Pierre as the Angel. Released on the Cybélia label (then Assai Classics), this was the first complete recording of the opera.\nZagrosek (1985): The Salzburg Festival of 1985 included performances of the opera under the baton of Lothar Zagrosek, with the Vienna Radio Symphony Orchestra and the Arnold Schoenberg Chor. Baritone Dietrich Fischer-Dieskau sang the title role with French soprano Rachel Yakar as the Angel. This recording, released on the Orfeo d'Or label, includes scenes 3, 6, 7 and 8 only.\nNagano (1986): Kent Nagano, who had studied the original 1983 production, conducted a concert performance in Utrecht for release on the KRO label. Philippe Rouillon sang the title role. \nNagano (1998): Nagano also helmed this complete live recording with the Hallé Orchestra and Arnold Schoenberg Choir at the Salzburg Festival in 1998 for release on Deutsche Grammophon. José van Dam returned to sing the title role. American soprano Dawn Upshaw sang the Angel, with Chris Merritt as the Leper.\n\nThe opera was given a semi-staged performance as Prom 70 in the 2008 BBC Proms season and broadcast live on BBC Radio 3. This was based on the recent production by Netherlands Opera. This production was filmed and issued on DVD in 2009, with Rodney Gilfry as St. Francis and Camilla Tilling as the Angel. The conductor is Ingo Metzmacher, and the stage producer is Pierre Audi.\n\nReferences\nNotes\n\nSources\nAprahamian, Felix: trans. Libretto to Saint François d'Assise. (booklet accompanying above CD). Deutsche Grammophon CD No. 445 176–2, 1999\nArmstrong, Regis J., et al.: Francis of Assisi: Early Documents. New York: New City Press, 1999. pp. 113–114. \nBenitez, Vincent P. (2018). Olivier Messiaen: A Research and Information Guide, 2nd ed. New York and London: Routledge. .\nBenítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .\nBraun, William R.: \"One Saint in Three Acts.\" Opera News. September 2002: pp. 46–51.\nBruhn, Siglind (2008). Messiaen's Interpretations of Holiness and Trinity. Echoes of Medieval Theology in the Oratorio, Organ Meditations, and Opera. Hillsdale, NY: Pendragon Press. .\nBruhn, Siglind (2008). Messiaen's Explorations of Love and Death. Musico-poetic Signification in the Tristan Trilogy and Three Related Song Cycles. Hillsdale, NY: Pendragon Press. .\nBruhn, Siglind (2007). Messiaen's Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the Two Great Piano Cycles of the 1940s. Hillsdale, NY: Pendragon Press. .\nChurch, John J.: \"Look at the Birds of the Air...\", Opera World. April, 2001. OPERA America. \nCorbetta, Silvia: Olivier Messiaen: Saint Françoise d'Assise, Zecchini, \nDingle, Christopher: \"Frescoes and Legends: the Sources and Background of Saint François d'Assise\". in Christopher Dingle and Nigel Simeone (eds) Olivier Messiaen: Music, Art & Literature. Aldershot: Ashgate, 2007. pp. 301–22. \nGriffiths, Paul: \"Olivier Messiaen\", The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. 2nd ed. London: MacMillan, 2001. Vol. 16, pp. 500–502. \nMessiaen, Olivier: Saint François d'Assise (sound recording). José van Dam (baritone), Dawn Upshaw (soprano) and Kent Nagano (conductor). Deutsche Grammophon CD No. 445 176–2, 1999.\nMichaely, Aloyse: Messiaens \"Saint Francois d'Assise\" : die musikalisch-theologische Summe eines Lebenswerkes. Frankfurt/Main, Basel: Stroemfeld, 2006, \nRich, Alan: \"Messiaen's Saintly Vision.\" Newsweek. 1983-12-12. pp. 111, 113.\nRuhe, Pierre: \"Runnicles' 'Francis' a triumph.\" Atlanta Journal-Constitution. 2002-09-30, p. E-1. Via ProQuest Document ID=199140551. Accessed 24 March 2007. \nSamuel, Claude: Olivier Messiaen, Music and Color: Conversations with Claude Samuel. E. Thomas Glasgow, trans. Portland: Amadeus Press, 1994. \n\nOperas by Olivier Messiaen\nFrench-language operas\nOperas\n1983 operas\nCultural depictions of Francis of Assisi\nOperas set in the 13th century\nOperas set in Italy\nOperas based on real people\nOpera world premieres at the Paris Opera",
"The Prelude for Organ (), sometimes also known as Prélude, is an organ composition by French composer Olivier Messiaen. It was published posthumously in 2002.\n\nBackground \n\nThis prelude was discovered by Yvonne Messiaen in 1997, together with the Offrande au Saint-Sacrement. The date of composition is unknown and its origin is subject to much speculation. On the one hand, organist and Messiaen performer Olivier Latry suggested that Messiaen composed the Prélude when he was an organ student at the Paris Conservatory, as it was one of the few places where he could play an unusually large organ with a keyboard extending to C6 (61 notes) and a pedal board extending to G4 (32 notes). He also explained the work might have been contemporary with his Diptyque, around 1929, since it has a similarly agitated and virtuosistic style. Scholar Christopher Brent Murray, on the other hand, believes that the Prélude may have been composed in January 1928. According to Murray, Messiaen may have referred to the piece as the Conservatory examination submission. It was published by Editions Alphonse Leduc in 2002.\n\nStructure \n\nThe piece has a duration of 9 minutes and a total of 89 bars. It is in E major and has an unchanging time signature of . According to double bar separation, the piece has three sections: a very short first section which is marked \"Sans hâte\" (Without haste), a second section marked \"Lent\" (Slow) starting at bar 4, and a lengthy third section marked \"Modéré, presque vif\" (Moderate, almost quick) starting at bar 17, which contains the development, the recapitulation, and the coda. These three sections are also divided by fermatas.\n\nRecordings \n\nSince this piece was not initially intended for publication and was probably discarded as juvenilia, it has not been performed very often and remains one of the lesser known works by Messiaen. Here is a list of notable recordings of the piece:\n\nReferences \n\nCompositions for organ\nCompositions by Olivier Messiaen"
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"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera."
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| C_e8ec6736a1c844c2a0dc070974e04d66_0 | What was the piece he composed? | 2 | What was the piece Olivier Messiaen composed? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | false | [
"Imaginary Landscape No. 5 (sometimes also entitled Imaginary Landscapes No. 5) is a composition by American composer John Cage and the fifth and final installment in the series of Imaginary Landscapes. It was composed in 1952.\n\nComposition \n\nAfter working on his Imaginary Landscape No. 4 (March No. 2) and his Music of Changes, Cage's first two works to feature utter indeterminacy, Cage started working with Morton Feldman on graphical scores, which was fairly avant-garde at the time. Fascinated by the idea of detaching himself from the music he was making, he decided to write a piece that used the system in No. 4, but with recorded music rather than radio broadcasting. This piece was a part of Cage's two contributions to a project entitled Project for Music for Magnetic Tape, the other one being Williams Mix, composed in a similar fashion and also presented on graphic paper. However, the piece was to be realized as a tape recording, and not to be broadcast.\n\nWith the help of long-time collaborator David Tudor and the technical assistance from Bebe and Louis Barron, Cage realized the composition on January 18, 1952. Cage used mostly jazz recordings to make this piece, which called for 42 recordings, presented as disposed in the score. This work became the basis of a dance piece, entitled Portrait of a Lady, which premiered in New York in 1952 by Jean Erdman. The score was eventually published by Edition Peters.\n\nStructure \n\nThis piece consist of only one movement and the average duration varies widely from recording to recording. It is scored for 42 recordings disposed in eight tracks in a mixing studio, all of them being re-recorded into tape as disposed in the score. The score itself is a block-grid, wherein each square is meant to be three inches of recording (around 0.2 seconds). The score also indicates the changes in dynamics and includes crescendos and diminuendos. Whereas duration and amplitude are specified in the score, there is no mention from Cage as to what recordings or what type of music should be used for performing the piece. The compositional method was use of the I Ching, creating a chart work with a five to five structure, as in Imaginary Landscape No. 4 (March No. 2).\n\nRecordings \n\nThe following is an incomplete list of recordings of Imaginary Landscape No. 5:\n\n Peter Pfister realized the piece using jazz recordings by Anthony Braxton. The recording took place between May 28 and June 1, 1995 and was released by Hat Hut.\n Alvise Vidolin also recorded this piece in 2009. The recording was later released in 2012 by Stradivarius.\n Michael Barnhart also realized this piece in 2011 using pieces by Cage. It was recorded and released by Mode Records both on CD and DVD.\n\nFootnotes\n\nReferences\n\nExternal links \n\n Manuscript of the piece by John Cage.\n\n1951 compositions\nCompositions by John Cage",
"Quartets is a 1994 studio album by English guitarist, composer and improvisor Fred Frith. It consists of two compositions by Frith, \"Lelekovice, String Quartet #1\", performed by the Violet Wires String Quartet, and \"The As Usual Dance Towards the Other Flight to What is Not\", performed by an electric guitar quartet. Frith performs with the guitar quartet, but not with the string quartet.\n\nBackground\n\"Lelekovice, String Quartet #1\" was composed by Frith in 1990 and was dedicated to Iva Bittová, Lelekovice being the name of the village near Brno in the Czech Republic where Bittová lives. It was first performed in July 1991 by the Mondriaan Quartet at the Nieuwe Muziek Festival, in Middelburg, the Netherlands, and was used by the United States choreographer Amanda Miller in her dance piece, My Father's Vertigo in 1991. The recording on this album was made in December 1992 by the Violet Wires String Quartet at Angel Recording Studios, London. \"Lelekovice\" was recorded again in June 2003 by the Arditti Quartet and appeared on Frith's 2005 album, Eleventh Hour.\n\n\"The As Usual Dance Towards the Other Flight to What is Not\" was commissioned by Roulette, New York City and composed by Frith in 1989. It consists of eight movements labeled A to H, and can be performed in any sequence. For this recording, the order is D, B, C, G, H, F, A, E. The title \"The As Usual Dance ...\" is taken from a letter written by Anne Hemenway. The piece was first performed in February 1989 by Les 4 Guitaristes de l'Apocalypso-Bar at The Kitchen, New York City, and recorded by the same group in February 1989 at Studio Victor, Montreal. An album of this piece and other recordings by the group were released on Fin de Siecle (1989). Only sections A and C of this composition appear on the album.\n\nFrith did not play on \"The As Usual Dance Towards the Other Flight to What is Not\" with Les 4 Guitaristes de l'Apocalypso-Bar, and when he wanted to perform this piece himself, he assembled an electric guitar quartet in 1992, comprising René Lussier, Nick Didkovsky, Mark Howell and himself. The quartet recorded the complete piece in April 1992 at Sorcerer Sound, New York, releasing it on Quartets. Later Mark Stewart replaced Howell and the new quartet became known as the Fred Frith Guitar Quartet, touring internationally and recording two albums, Ayaya Moses (1997) and Upbeat (1999).\n\nParts of \"The As Usual Dance Towards the Other Flight to What is Not\" also appear in the documentary film, Step Across the Border (1990), and its soundtrack, Step Across the Border (1990), performed by an electric guitar quartet which Frith conducts.\n\nTrack listing\nAll tracks composed by Fred Frith.\n\nPersonnel\n\"Lelekovice, String Quartet #1\" performed by Violet Wires String Quartet:\nAnn Morfee – violin\nAbigail Brown – violin\nPhil D'Arcy – viola\nLiz Parker – cello\n\"The As Usual Dance Towards the Other Flight to What is Not\" performed by Electric Guitar Quartet:\nFred Frith – guitar\nRené Lussier – guitar\nNick Didkovsky – guitar\nMark Howell – guitar\n\nProduction\n\"Lelekovice, String Quartet #1\"\nRecorded in December 1992 at Angel Recording Studios, London by Tom Leader\nMixed in January 1993 at Sound Fabrik, Munich by Benedykt Grodon and Fred Frith\n\"The As Usual Dance Towards the Other Flight to What is Not\"\nRecorded and mixed in April 1992 at Sorcerer Sound, New York City by David Avidor\nArtwork by Peter Bäder\n\nReferences\n\nExternal links\n\n1994 albums\nFred Frith albums\nRecRec Music albums\nAlbums produced by Fred Frith"
]
|
[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise."
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | what are the canyons? | 3 | what are the canyons? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
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Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | true | [
"Canyons Aquatic Club, (CAC or CANY) is a competitive swim team located in Santa Clarita, California. CAC is a USA Swimming affiliated swim team competing in the Southern California Swimming region. CAC's home pool is located on the campus of College of the Canyons but also has practice locations at the Santa Clarita Aquatics Center, Santa Clarita Park, and the Antelope Valley.\n\nFounded in 1978, CAC has grown into what is now one of the largest swim clubs in Southern California. Its most notable alumni are Olympic medalists Anthony Ervin (three gold, one silver), and Abbey Weitzeil (one gold, one silver).\n\nCanyons has over 600 members at various competitive levels, ranging from novice/introductory levels through to nationally ranked competitors. As of 2000 the Canyons Aquatic Club had produced a U.S. Olympic team alternate, four USA national titlists, two U.S. Olympic Festival selections and numerous high school All-Americans. In 2010 five of its swimmers qualified for the Conoco Phillips National Championships. In 2012, Canyons Aquatics sent seven swimmers to the United States Swimming Olympic Trials, the most in club history.\n\nThe current head coach of the club is Kevin Nielsen. Prior head coaches include David Kuck (2017-2019), Coley Stickels (2012-2017, Jeff Conwell (2005-2012), Bruce Patmos (1989-2005), Jennifer Salles-Cunha (~1987-1989), Steve Neale (~1985-1987), Steve Schomber (~1985), Fernando Maldonado (~1984), and Jerry and Joe Walsh (~1978-1984)\n\nReferences\n\nExternal links\nCanyons Aquatic Club homepage\nSouthern California Swimming homepage\nUSA Swimming homepage\n\nSwim teams in the United States\nSanta Clarita, California",
"Daniel Arthur Smith (born September 14, 1968) is an American science fiction author. His titles include Spectral Shift, Hugh Howey Lives, The Cathari Treasure, The Somali Deception, and a few other novels and short stories. He also curates the short fiction series Tales from the Canyons of the Damned and Frontiers of Speculative Fiction.\n\nAs part of the Dominion Rising collection of selected titles his novel Spectral Shift hit number 14 on the USA Today Best Seller list and number 4 on the Wall Street Journal Best Seller list.\n\nPersonal life\n\nDaniel has traveled to over 300 cities in 22 countries, residing in Los Angeles, Kalamazoo, Prague, Crete, and now writes in Manhattan where he lives with his wife and sons.\n\nBibliography\n\nNovels and Novellas\n The Potter’s Daughter (May 2013)\n Agroland (October 2014)\n Hugh Howey Lives (April 2015)\n\nThe Cameron Kincaid Adventures\n The Cathari Treasure (November 2012)\n The Somali Deception (December 2013)\n\nSpectral Worlds\n Spectral Shift (August 2017)\n\nSpectral Worlds Short Stories\n The Off World Kick Murder Squad I from Tales from the Canyons of the Damned No. 11 (December 2016)\n The Off World Kick Murder Squad II from Tales from the Canyons of the Damned No. 12 (January 2017)\n The Off World Kick Murder Squad III from Tales from the Canyons of the Damned No. 14 (February 2017)\n Lorem Tempus from Tales from the Canyons of the Damned No. 16 (June 2017)\n Carcerem from UnCommon Lands (August 2017)\n\nThe Lost Tapes Short Stories\n The Lost Tapes–Beckett Ridge from Tales from the Canyons of the Damned No. 10 (October 2016)\n The Lost Tapes–Jack Carter from Tales from the Canyons of the Damned No. 17 (June 2017)\n The Lost Tapes–Sirens of Bartholomew from Tales from the Canyons of the Damned No. 18 (August 2017)\n The Lost Tapes–The Madness of King Street from Tales from the Canyons of the Damned No. 19 (September 2017)\n\nOther Short Stories\n\n Opening Day (August 2013)\n Sarfer (May 2015)\n Sandhogs (October 2015)\n The Penthouse (October 2015)\n The Harbor (October 2015)\n Tower (November 2015)\n The Diatomic Quantum Flop (November 2015)\n Tesla (November 2015)\n The Blue Orb (November 2015)\n From the Inside (November 2015)\n The Peralta Protocol (March 2016)\n The Tombs (April 2016)\n Eye in the Sky (April 2016)\n Confessional Part I (May 2016)\n Confessional Part II (May 2016)\n Confessional Part III (May 2016)\n Like No Other (May 2016)\n The Park (May 2016)\n The Least Child (June 2016)\n The Don (July 2016)\n Times Square Elmo (August 2016)\n Back to Brooklyn (September 2016)\n The Pirate (October 2016)\n The Enemy Beyond the Walls (January 2017)\n Angel’s Catch (February 2017)\n The Vulture Bus (March 2017)\n The Titan’s Daughter (September 2017)\n\nAs editor\n\nFrontiers of Speculative Fiction\n\n CLONES: The Anthology (May 2016, with Jessica West) \n OCEANS: The Anthology (September 2017, with Jessica West)\n\nTales from the Canyons of the Damned\n\n Tales from the Canyons of the Damned No. 1 (October 2015)\n Tales from the Canyons of the Damned No. 2 (November 2015)\n Tales from the Canyons of the Damned No. 3 (April 2016)\n Tales from the Canyons of the Damned No. 4 (April 2016)\n Tales from the Canyons of the Damned No. 5 (May 2016)\n Tales from the Canyons of the Damned No. 6 (July 2016)\n Tales from the Canyons of the Damned No. 7 (August 2016)\n Tales from the Canyons of the Damned No. 8 (September 2016)\n Tales from the Canyons of the Damned No. 9 (October 2016)\n Tales from the Canyons of the Damned No. 10 (October 2016)\n Tales from the Canyons of the Damned No. 11 (December 2016)\n Tales from the Canyons of the Damned No. 12 (January 2017)\n Tales from the Canyons of the Damned No. 13 (February 2017)\n Tales from the Canyons of the Damned No. 14 (February 2017)\n Tales from the Canyons of the Damned No. 15 (March 2017)\n Tales from the Canyons of the Damned No. 16 (June 2017)\n Tales from the Canyons of the Damned No. 17 (June 2017)\n Tales from the Canyons of the Damned No. 18 (August 2017)\n Tales from the Canyons of the Damned No. 19 (September 2017)\n Tales from the Canyons of the Damned No. 20 (November 2017)\n Tales from the Canyons of the Damned No. 21 (January 2018)\n Tales from the Canyons of the Damned No. 22 (February 2018)\n Tales from the Canyons of the Damned No. 23 (April 2018)\n Tales from the Canyons of the Damned No. 24 (May 2018)\n Tales from the Canyons of the Damned No. 25 (June 2018)\n Tales from the Canyons of the Damned No. 26 (August 2018)\n Tales from the Canyons of the Damned No. 27 (October 2018)\n Tales from the Canyons of the Damned No. 28 (November 2018)\n Tales from the Canyons of the Damned No. 29 (December 2018)\n Tales from the Canyons of the Damned No. 30 (January 2019)\n Tales from the Canyons of the Damned No. 31 (February 2019)\n Tales from the Canyons of the Damned No. 32 (April 2019)\n Tales from the Canyons of the Damned No. 33 (May 2019)\n Tales from the Canyons of the Damned No. 34 (June 2019)\n Tales from the Canyons of the Damned No. 35 (October 2019)\n Tales from the Canyons of the Damned No. 36 (December 2019)\n\nCollected editions\n Tales from the Canyons of the Damned Omnibus No. 1 (July 2016)\n Tales from the Canyons of the Damned Omnibus No. 2 (November 2016)\n Tales from the Canyons of the Damned Omnibus No. 3 (April 2017)\n Tales from the Canyons of the Damned Omnibus No. 4 (August 2017)\n\nInterviews\n\n Q&A With Science Fiction Author Daniel Arthur Smith – The Fussy Librarian - January 2016\n 10 Questions With Daniel Arthur Smith – The Leighgendarium - January 2016\n Episode 30 with Daniel Arthur Smith – The Leighgendarium- December 2016\n Episode thirty four with Daniel Arthur Smith – The Author Stories Podcast - April 2015\n Episode 109: Daniel Arthur Smith Talks Writing Pulp – The Author Stories Podcast - June 2016\n Episode 227 OCEANS: The Anthology Special with Rysa Walker and Daniel Arthur Smith – The Author Stories Podcast - September 2017\n\nReferences\n\nExternal links\n \n \n\n21st-century American novelists\nAmerican science fiction writers\nLiving people\n1968 births\nAmerican male novelists\nAmerican male short story writers\nPlace of birth missing (living people)\n21st-century American short story writers\nWestern Michigan University alumni\nWriters from New York City\nNovelists from New York (state)\n21st-century American male writers"
]
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[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise.",
"what are the canyons?",
"work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's"
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | how did the canyons influence his work? | 4 | how did the canyons influence Olivier Messiaen's work? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | he observed the canyon's distinctive colours and birdsong. | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | true | [
"Daniel Arthur Smith (born September 14, 1968) is an American science fiction author. His titles include Spectral Shift, Hugh Howey Lives, The Cathari Treasure, The Somali Deception, and a few other novels and short stories. He also curates the short fiction series Tales from the Canyons of the Damned and Frontiers of Speculative Fiction.\n\nAs part of the Dominion Rising collection of selected titles his novel Spectral Shift hit number 14 on the USA Today Best Seller list and number 4 on the Wall Street Journal Best Seller list.\n\nPersonal life\n\nDaniel has traveled to over 300 cities in 22 countries, residing in Los Angeles, Kalamazoo, Prague, Crete, and now writes in Manhattan where he lives with his wife and sons.\n\nBibliography\n\nNovels and Novellas\n The Potter’s Daughter (May 2013)\n Agroland (October 2014)\n Hugh Howey Lives (April 2015)\n\nThe Cameron Kincaid Adventures\n The Cathari Treasure (November 2012)\n The Somali Deception (December 2013)\n\nSpectral Worlds\n Spectral Shift (August 2017)\n\nSpectral Worlds Short Stories\n The Off World Kick Murder Squad I from Tales from the Canyons of the Damned No. 11 (December 2016)\n The Off World Kick Murder Squad II from Tales from the Canyons of the Damned No. 12 (January 2017)\n The Off World Kick Murder Squad III from Tales from the Canyons of the Damned No. 14 (February 2017)\n Lorem Tempus from Tales from the Canyons of the Damned No. 16 (June 2017)\n Carcerem from UnCommon Lands (August 2017)\n\nThe Lost Tapes Short Stories\n The Lost Tapes–Beckett Ridge from Tales from the Canyons of the Damned No. 10 (October 2016)\n The Lost Tapes–Jack Carter from Tales from the Canyons of the Damned No. 17 (June 2017)\n The Lost Tapes–Sirens of Bartholomew from Tales from the Canyons of the Damned No. 18 (August 2017)\n The Lost Tapes–The Madness of King Street from Tales from the Canyons of the Damned No. 19 (September 2017)\n\nOther Short Stories\n\n Opening Day (August 2013)\n Sarfer (May 2015)\n Sandhogs (October 2015)\n The Penthouse (October 2015)\n The Harbor (October 2015)\n Tower (November 2015)\n The Diatomic Quantum Flop (November 2015)\n Tesla (November 2015)\n The Blue Orb (November 2015)\n From the Inside (November 2015)\n The Peralta Protocol (March 2016)\n The Tombs (April 2016)\n Eye in the Sky (April 2016)\n Confessional Part I (May 2016)\n Confessional Part II (May 2016)\n Confessional Part III (May 2016)\n Like No Other (May 2016)\n The Park (May 2016)\n The Least Child (June 2016)\n The Don (July 2016)\n Times Square Elmo (August 2016)\n Back to Brooklyn (September 2016)\n The Pirate (October 2016)\n The Enemy Beyond the Walls (January 2017)\n Angel’s Catch (February 2017)\n The Vulture Bus (March 2017)\n The Titan’s Daughter (September 2017)\n\nAs editor\n\nFrontiers of Speculative Fiction\n\n CLONES: The Anthology (May 2016, with Jessica West) \n OCEANS: The Anthology (September 2017, with Jessica West)\n\nTales from the Canyons of the Damned\n\n Tales from the Canyons of the Damned No. 1 (October 2015)\n Tales from the Canyons of the Damned No. 2 (November 2015)\n Tales from the Canyons of the Damned No. 3 (April 2016)\n Tales from the Canyons of the Damned No. 4 (April 2016)\n Tales from the Canyons of the Damned No. 5 (May 2016)\n Tales from the Canyons of the Damned No. 6 (July 2016)\n Tales from the Canyons of the Damned No. 7 (August 2016)\n Tales from the Canyons of the Damned No. 8 (September 2016)\n Tales from the Canyons of the Damned No. 9 (October 2016)\n Tales from the Canyons of the Damned No. 10 (October 2016)\n Tales from the Canyons of the Damned No. 11 (December 2016)\n Tales from the Canyons of the Damned No. 12 (January 2017)\n Tales from the Canyons of the Damned No. 13 (February 2017)\n Tales from the Canyons of the Damned No. 14 (February 2017)\n Tales from the Canyons of the Damned No. 15 (March 2017)\n Tales from the Canyons of the Damned No. 16 (June 2017)\n Tales from the Canyons of the Damned No. 17 (June 2017)\n Tales from the Canyons of the Damned No. 18 (August 2017)\n Tales from the Canyons of the Damned No. 19 (September 2017)\n Tales from the Canyons of the Damned No. 20 (November 2017)\n Tales from the Canyons of the Damned No. 21 (January 2018)\n Tales from the Canyons of the Damned No. 22 (February 2018)\n Tales from the Canyons of the Damned No. 23 (April 2018)\n Tales from the Canyons of the Damned No. 24 (May 2018)\n Tales from the Canyons of the Damned No. 25 (June 2018)\n Tales from the Canyons of the Damned No. 26 (August 2018)\n Tales from the Canyons of the Damned No. 27 (October 2018)\n Tales from the Canyons of the Damned No. 28 (November 2018)\n Tales from the Canyons of the Damned No. 29 (December 2018)\n Tales from the Canyons of the Damned No. 30 (January 2019)\n Tales from the Canyons of the Damned No. 31 (February 2019)\n Tales from the Canyons of the Damned No. 32 (April 2019)\n Tales from the Canyons of the Damned No. 33 (May 2019)\n Tales from the Canyons of the Damned No. 34 (June 2019)\n Tales from the Canyons of the Damned No. 35 (October 2019)\n Tales from the Canyons of the Damned No. 36 (December 2019)\n\nCollected editions\n Tales from the Canyons of the Damned Omnibus No. 1 (July 2016)\n Tales from the Canyons of the Damned Omnibus No. 2 (November 2016)\n Tales from the Canyons of the Damned Omnibus No. 3 (April 2017)\n Tales from the Canyons of the Damned Omnibus No. 4 (August 2017)\n\nInterviews\n\n Q&A With Science Fiction Author Daniel Arthur Smith – The Fussy Librarian - January 2016\n 10 Questions With Daniel Arthur Smith – The Leighgendarium - January 2016\n Episode 30 with Daniel Arthur Smith – The Leighgendarium- December 2016\n Episode thirty four with Daniel Arthur Smith – The Author Stories Podcast - April 2015\n Episode 109: Daniel Arthur Smith Talks Writing Pulp – The Author Stories Podcast - June 2016\n Episode 227 OCEANS: The Anthology Special with Rysa Walker and Daniel Arthur Smith – The Author Stories Podcast - September 2017\n\nReferences\n\nExternal links\n \n \n\n21st-century American novelists\nAmerican science fiction writers\nLiving people\n1968 births\nAmerican male novelists\nAmerican male short story writers\nPlace of birth missing (living people)\n21st-century American short story writers\nWestern Michigan University alumni\nWriters from New York City\nNovelists from New York (state)\n21st-century American male writers",
"Phantom Canyon is a canyon located in Colorado, in the Western United States. It is in the Laramie Foothills region of Colorado, near Fort Collins. It is formed by the North Fork of the Cache la Poudre River. It is one of the only canyons in the Colorado Front Range that is roadless.\n\nExternal links \n https://www.nature.org/en-us/get-involved/how-to-help/places-we-protect/phantom-canyon-preserve/\n\nCanyons and gorges of Colorado\nLandforms of Larimer County, Colorado"
]
|
[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise.",
"what are the canyons?",
"work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's",
"how did the canyons influence his work?",
"he observed the canyon's distinctive colours and birdsong."
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | what does transfiguration have to do with him? | 5 | what does transfiguration have to do with Olivier Messiaen? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | false | [
"In the New Testament, the Transfiguration of Jesus is an event where Jesus is transfigured and becomes radiant in glory upon a mountain. The Synoptic Gospels (, , ) describe it, and the Second Epistle of Peter also refers to it (). It has also been hypothesized that the first chapter of the Gospel of John alludes to it (John 1:14).\n\nIn these accounts, Jesus and three of his apostles, Peter, James, and John, go to a mountain (later referred to as the Mount of Transfiguration) to pray. On the mountaintop, Jesus begins to shine with bright rays of light. Then the Old Testament figures Moses and Elijah appear next to him and he speaks with them. Both figures had eschatological roles: they summarize the Law and the prophets, respectively. Jesus is then called \"Son\" by the voice of God the Father, in the Baptism of Jesus.\n\nMany Christian traditions, including the Eastern Orthodox, Catholic Church, Lutheran and Anglican churches, commemorate the event in the Feast of the Transfiguration, a major festival. In Greek Orthodoxy, the event is called the metamorphosis.\n\nSignificance\nThe transfiguration is one of the miracles of Jesus in the Gospels. This miracle is unique among others that appear in the canonical gospels, in that the miracle happens to Jesus himself. Thomas Aquinas considered the transfiguration \"the greatest miracle\" in that it complemented baptism and showed the perfection of life in Heaven. The transfiguration is one of the five major milestones in the gospel narrative of the life of Jesus, the others being baptism, crucifixion, resurrection, and ascension. In 2002, Pope John Paul II introduced the Luminous Mysteries in the rosary, which includes the transfiguration.\n\nIn Christian teachings, the transfiguration is a pivotal moment, and the setting on the mountain is presented as the point where human nature meets God: the meeting place of the temporal and the eternal, with Jesus himself as the connecting point, acting as the bridge between heaven and earth. Moreover, Christians consider the transfiguration to fulfill an Old Testament messianic prophecy that Elijah would return again after his ascension (Malachi 4:5–6). states:\n\nNew Testament accounts \n\nIn the Synoptic Gospels, ( Mark 9:2–8, Luke 9:28–36), the account of the transfiguration happens towards the middle of the narrative. It is a key episode and almost immediately follows another important element, the Confession of Peter: \"you are the Christ\" (Matthew 16:16, Mark 8:29, Luke 9:20). The transfiguration narrative acts as a further revelation of the identity of Jesus as the Son of God to some of his disciples.\n\nIn the gospels, Jesus takes Peter, James, son of Zebedee and his brother John the Apostle with him and goes up to a mountain, which is not named. Once on the mountain, states that Jesus \"was transfigured before them; his face shining as the sun, and his garments became white as the light.\" At that point the prophet Elijah representing the prophets and Moses representing the Law appear and Jesus begins to talk to them. Luke states that they spoke of Jesus' exodus (εξοδον) which he was about to accomplish in Jerusalem (). Luke is also specific in describing Jesus in a state of glory, with Luke 9:32 referring to \"they saw His glory\".\n\nJust as Elijah and Moses begin to depart from the scene, Peter begins to ask Jesus if the disciples should make three tents for him and the two prophets. This has been interpreted as Peter's attempt to keep the prophets there longer. But before Peter can finish, a bright cloud appears, and a voice from the cloud states: \"This is my beloved Son, with whom I am well pleased; listen to him\" (). The disciples then fall to the ground in fear, but Jesus approaches and touches them, telling them not to be afraid. When the disciples look up, they no longer see Elijah or Moses.\n\nWhen Jesus and the three apostles are going back down the mountain, Jesus tells them to not tell anyone \"the things they had seen\" until the \"Son of Man\" has risen from the dead. The apostles are described as questioning among themselves as to what Jesus meant by \"risen from the dead\".\n\nIn addition to the principal account given in the synoptic gospels; in 2 Peter 1:16–18, the Apostle Peter describes himself as an eyewitness \"of his magnificence\".\n\nElsewhere in the New Testament, Paul the Apostle's reference in 2 Corinthians 3:18 to the \"transformation of believers\" via \"beholding as in a mirror the glory of the Lord\" became the theological basis for considering the transfiguration as the catalyst for processes which lead the faithful to the knowledge of God.\n\nAlthough Matthew 17 lists the disciple John as being present during the transfiguration, the Gospel of John has no account of it. This has resulted in debate among scholars, some suggesting doubts about the authorship of the Gospel of John, others providing explanations for it. One explanation (that goes back to Eusebius of Caesarea in the fourth century) is that John wrote his gospel not to overlap with the synoptic gospels, but to supplement it, and hence did not include all of their narrative. Others believe that the Gospel of John does in fact allude to the transfiguration, in John 1:14. This is not the only incident not present in the fourth gospel, and the institution of the Eucharist at the Last Supper is another key example, indicating that the author either was not aware of these narrative traditions, did not accept their veracity, or decided to omit them. The general explanation is thus the Gospel of John was written thematically, to suit the author's theological purposes, and has a less narrative style than the synoptics.\n\nTheology\n\nImportance\n\nChristian theology assigns a great deal of significance to the transfiguration, based on multiple elements of the narrative. In Christian teachings, the Transfiguration is a pivotal moment, and the setting on the mountain is presented as the point where human nature meets God: the meeting place for the temporal and the eternal, with Jesus himself as the connecting point, acting as the bridge between heaven and earth.\n\nThe transfiguration not only supports the identity of Jesus as the Son of God (as in his baptism), but the statement \"listen to him\", identifies him as the messenger and mouth-piece of God. The significance of this identification is enhanced by the presence of Elijah and Moses, for it indicates to the apostles that Jesus is the voice of God \"par excellence\", and instead of Moses or Elijah, representing the Law and the prophets, he should be listened to, surpassing the laws of Moses by virtue of his divinity and filial relationship with God. 2 Peter 1:16–18, echoes the same message: at the Transfiguration God assigns to Jesus a special \"honor and glory\" and it is the turning point at which God exalts Jesus above all other powers in creation, and positions him as ruler and judge.\n\nThe transfiguration also echoes the teaching by Jesus (as in Matthew 22:32) that God is not \"the God of the dead, but of the living\". Although Moses had died and Elijah had been taken up to heaven centuries before (as in 2 Kings 2:11), they now live in the presence of the Son of God, implying that the same return to life applies to all who face death and have faith.\n\nHistorical development \n\nThe theology of the transfiguration received the attention of the Church Fathers since the very early days. In the 2nd century, Saint Irenaeus was fascinated by the transfiguration and wrote: \"the glory of God is a live human being and a truly human life is the vision of God\".\n\nOrigen's theology of the transfiguration influenced the patristic tradition and became a basis for theological writings by others. Among other issues, given the instruction to the apostles to keep silent about what they had seen until the resurrection, Origen commented that the glorified states of the transfiguration and the resurrection must be related.\n\nThe Desert Fathers emphasized the light of the ascetic experience, and related it to the light of the Transfiguration – a theme developed further by Evagrius Ponticus in the 4th century. Around the same time Saint Gregory of Nyssa and later Pseudo-Dionysius the Areopagite were developing a \"theology of light\" which then influenced Byzantine meditative and mystical traditions such as the Tabor light and theoria. The iconography of the transfiguration continued to develop in this time period, and there is a sixth-century symbolic representation in the apse of the Basilica of Sant'Apollinare in Classe and a well known depiction at Saint Catherine's Monastery on Mount Sinai in Egypt.\n\nByzantine Fathers often relied on highly visual metaphors in their writings, indicating that they may have been influenced by the established iconography. The extensive writings of Maximus the Confessor may have been shaped by his contemplations on the katholikon at Saint Catherine's Monastery – not a unique case of a theological idea appearing in icons long before it appears in writings.\n\nIn the 7th century, Saint Maximus the Confessor said that the senses of the apostles were transfigured to enable them to perceive the true glory of Christ. In the same vein, building on 2 Corinthians 3:18, by the end of the 13th century the concept of \"transfiguration of the believer\" had stabilized and Saint Gregory Palamas considered \"true knowledge of God\" to be a transfiguration of man by the Spirit of God. The spiritual transfiguration of the believer then continued to remain a theme for achieving a closer union with God.\n\nOne of the generalizations of Christian belief has been that the Eastern Church emphasizes the transfiguration while the Western Church focuses on the crucifixion – however, in practice both branches continue to attach significance to both events, although specific nuances continue to persist. An example of such a nuance is the saintly signs of the Imitation of Christ. Unlike Catholic saints such as Padre Pio or Francis (who considered stigmata a sign of the imitation of Christ) Eastern Orthodox saints have never reported stigmata, but saints such as Seraphim and Silouan have reported being transfigured by an inward light of grace.\n\nTransfiguration and resurrection \n\nOrigen's initial connection of the transfiguration with the resurrection continued to influence theological thought long thereafter. This connection continued to develop both within the theological and iconographic dimensions – which however, often influenced each other. Between the 6th and 9th centuries the iconography of the transfiguration in the East influenced the iconography of the resurrection, at times depicting various figures standing next to a glorified Christ.\n\nThis was not only a view within the Eastern Church and in the West, most commentators in the Middle Ages considered the transfiguration a preview of the glorified body of Christ following his resurrection.\nAs an example, in the 8th century, in his sermon on the transfiguration, the Benedictine monk Ambrosius Autpertus directly linked the Supper at Emmaus appearance in Luke 24:39 to the transfiguration narrative of Matthew 17:2, and stated that in both cases, Jesus \"was changed to a different form, not of nature, but of glory.\"\n\nThe concept of the transfiguration as a preview and an anticipation of the resurrection includes several theological components. On one hand it cautions the disciples, and therefore the reader, that the glory of the transfiguration, and the message of Jesus, can only be understood in the context of his death and resurrection, and not simply on its own.\n\nWhen the transfiguration is considered an anticipation of the Resurrection, the presentation of a shining Jesus on the mount of transfiguration as the Son of God who should be listened to can be understood in the context of the statement by Jesus in the resurrection appearance in Matthew 28:16–20: \"all authority hath been given unto me in heaven and on earth\".\n\nPresence of prophets \n\nThe presence of the prophets next to Jesus and the perceptions of the disciples have been subject to theological debate. Origen was the first to comment that the presence of Moses and Elijah represented the \"Law and the prophets\", referring to the Torah (also called the Pentateuch) and the rest of the Hebrew Bible. Martin Luther continued to see them as the Law and the Prophets respectively, and their recognition of and conversation with Jesus as a symbol of how Jesus fulfills \"the law and the prophets\" (Matthew 5:17–19, see also Expounding of the Law).\n\nThe real presence of Moses and Elijah on the mount is rejected by those churches and individuals who believe in \"soul sleep\" (Christian mortalism) until resurrection. Several commentators have noted that the Gospel of Matthew describes the transfiguration using the Greek word orama (), according to Thayer more often used for a supernatural \"vision\" than for real physical events, and concluded that Moses and Elijah were not truly there.\n\nIn LDS doctrine, Moses and Elijah ministered to Christ as \"spirits of just men made perfect\" (Doctrine and Covenants 129:1–3; see also Heb. 12:23).\n\nLocation of the mountain \n\nNone of the accounts identify the \"high mountain\" of the scene by name.\n\nSince the 3rd century, some Christians have identified Mount Tabor as the site of the transfiguration, including Origen. See citing Origen's reference to . Tabor has long been a place of Christian pilgrimage and is the site of the Church of the Transfiguration. In 1808, Henry Alford cast doubt on Tabor due to the possible continuing Roman utilization of a fortress which Antiochus the Great built on Tabor in 219 BC. Others have countered that even if Tabor was fortified by Antiochus, this does not rule out a transfiguration at the summit. Josephus mentions in the Jewish War that he built a wall along the top perimeter in 40 days, and does not mention any previously existing structures.\n\nJohn Lightfoot rejects Tabor as too far but \"some mountain near Caesarea-Philippi\". The usual candidate, in this case, is Mount Panium, Paneas, or Banias, a small hill situated at the source of the Jordan, near the foot of which Caesarea Philippi was built.\n\nWilliam Hendriksen in his commentary on Matthew (1973) favours Mount Meron.\n\n proposes that it was Mount Nebo, primarily on the basis that it was the location where Moses viewed the promised land and a parallelism in Jesus' words on descent from the mountain of transfiguration: \"You will say to this mountain (i.e. of transfiguration), 'Move from here to there' (i.e. the promised land), and it will move, and nothing will be impossible for you.\"\n\n notes that Mount Hermon is closest to Caesarea Philippi, mentioned in the previous chapter of Matthew. Likewise, Meyboom (1861) identified \"Djebel-Ejeik\", but this may be a confusion with Jabal el-Sheikh, the Arabic name for Mount Hermon.\n\nEdward Greswell, however, writing in 1830, saw \"no good reason for questioning the ancient ecclesiastical tradition, which supposes it to have been mount Tabor.\"\n\nAn alternative explanation is to understand the Mount of Transfiguration as symbolic topography in the gospels. As Elizabeth Struthers Malbon notes, the mountain is figuratively the meeting place between God and humans.\n\nFeast and commemorations \n\nVarious Christian denominations celebrate the Feast of the Transfiguration. The origins of the feast remain uncertain; it may have derived from the dedication of three basilicas on Mount Tabor. The feast existed in various forms by the 9th century. In the Western Church, Pope Callixtus III () made it a universal feast, celebrated on August 6, to commemorate the lifting of the siege of Belgrade in July 1456.\n\nThe Syriac Orthodox, Indian Orthodox and Revised Julian calendars within the Eastern Orthodox, Roman Catholic, Old Catholic, and Anglican churches mark the Feast of the Transfiguration on 6 August. In those Orthodox churches which continue to follow the Julian Calendar, August 6 in the church calendar falls on August 19 in the civil (Gregorian) calendar. Transfiguration ranks as a major feast, numbered among the twelve Great Feasts in the Byzantine rite. In all these churches, if the feast falls on a Sunday, its liturgy is not combined with the Sunday liturgy, but completely replaces it.\n\nIn some liturgical calendars (e.g. the Lutheran and United Methodist) the last Sunday in the Epiphany season is also devoted to this event. In the Church of Sweden and the Evangelical Lutheran Church of Finland, however, the Feast is celebrated on the seventh Sunday after Trinity (the eighth Sunday after Pentecost).\n\nIn the Roman rite, the gospel pericope of the transfiguration is read on the second Sunday of Lent - the liturgy emphasizes the role the transfiguration had in comforting the Twelve Apostles, giving them both a powerful proof of Christ's divinity and a prelude to the glory of the resurrection on Easter and the eventual salvation of his followers in view of the seeming contradiction of his crucifixion and death. The Preface for that day expounds this theme.\n\nCultural echoes \nSeveral church buildings commemorate the Transfiguration in their naming. Note for example the - the original 17th-century church here gave its name to the surrounding village (Preobrazhenskoye - \"Transfiguration [village]\" near Moscow) which in turn became the namesake of Russia's pre-eminent Preobrazhensky (\"Transfiguration\") Regiment and of other associated names.\n\nGallery of images\n\nPaintings\n\nIcons\n\nChurches and monasteries\n\nSee also \n Acts of John, a pseudepigraphal non-canonical text that has a similar transfiguration scene (Chapter 90).\n Chronology of Jesus\n College of the Transfiguration\n Life of Jesus in the New Testament\n Son of man came to serve\n\nReferences\n\nNotes\n\nCitations\n\nSources\n\nExternal links \n\n \"The Transfiguration of Our Lord\", Butler's Lives of the Saints\n \n Pope Benedict XVI on Transfiguration of Jesus\n The Holy Transfiguration of our Lord God and Savior Jesus Christ Orthodox icon and synaxarion\n\nCatholic holy days\nChristian festivals and holy days\nNew Testament miracles\nGospel episodes\nLuminous Mysteries\nChristian terminology\nMoses\nElijah",
"Olivier de Sagazan (born 1959 in Brazzaville, Congo) is a French artist, painter, sculptor and performer. His most famous performance “Transfiguration” was created in 1998, with more than 300 performances in 25 different countries. In this fascinating performance \"Transfiguration\", Sagazan changes identities on stage from man to animal and from animal to various hybrid creatures. He pierces, obliterates and unravels the layers on his face in a frenzied search for new essence and form. In this regard he has stated “I am flabbergasted in seeing to what degree people think it’s normal, or even trite, to be alive”. In \"Transfiguration\" he gives new meaning to the notion of life, offering a captivating, disturbing and stirring glimpse into an alternative selfhood utterly unconstrained by inhibition.\n\nHis performance “Transfiguration” has led to numerous collaborations with artists such as:\nFKA Twigs\nRon Fricke for the movie Samsara\nQiu Yang for the movie O produced by Hou Hsiao-hsien\nGareth Pugh and Nick Knight\nWim Vandekeybus\nDavid Wahl\n\nTelevision\nIn Channel Zero: Candle Cove he portrays The Skin Taker.\n\nSee also \nPerformance art\n\nReferences\n\nExternal links \n\n \n A journey to the edge of anxiety: an interview with Olivier de Sagazan with Art Media Agency\n\nFrench sculptors\nFrench male sculptors\nFrench performance artists\nPeople from Brazzaville\n1959 births\nLiving people"
]
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[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise.",
"what are the canyons?",
"work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's",
"how did the canyons influence his work?",
"he observed the canyon's distinctive colours and birdsong.",
"what does transfiguration have to do with him?",
"Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ."
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | what was significant about that work? | 6 | what was significant about La Transfiguration de Notre Seigneur Jesus-Christ? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | true | [
"Henri de Mondeville (1320) was a medieval French surgeon who made a significant number of contributions to anatomy and surgery, and was the first Frenchman to author a surgical treatise, La Chirurgie (1306-1320). Very little is known about the details of his early life. There is some doubt about his birthplace as according to ancient Norman custom, his last name is derived from the place of birth, and is variously spelled as Amondeville, Esmondeville, Mandeville and so on.\n\nHe pursued his medical studies in Montpellier and Paris, and he became a cleric and master in medicine and then went to Bologna as a cleric-physician to work with Theodoric Borgognoni, who was one of the most prominent surgeons of the Medieval Period. Mondeville appreciated and used Borgognoni´s method of dressing wounds which was completely opposite to the practices at that time.\n\nReturning to France, he worked as a professor of anatomy and surgery at the University of Montpellier between 13011304. He was appointed as a royal surgeon to King Philippe Le Bel (Philip the Fair) of France and he retained his position under Louis X, serving in military expeditions against the English. He also started to teach surgery at the medical schools in Paris in 1308 and settled permanently in 1312. His royal duties ended after the death of Louis X in 1316. He carried on teaching and writing about surgery until his death around 1320 from what was believed to be tuberculosis.\n\nLa Chirurgie \nIn 1306, he started to write his unfinished manuscript La Chirurgie (\"Surgery\", translated from French) in Latin until 1320. Prioreschi in Ghosh states that \"the book documents his professional views, as well as gives significant insights into the status of medicine and surgery in the 14th century\". His work was never completed, only two of his intended five sections are completed. The manuscript was met with contention by his colleagues and immediate successors. It was not until 1892 that it was re-discovered by Julius Leopold Pagel that it was considered important due to the development of antiseptic surgery in modern times. His work was influenced by the medical works of the Ancient Greek physician Galen and the Latin translations of Avicenna's Canon of Medicine. He was the first known surgeon to introduce the concept of aseptic management of wounds without inducing pus formation and applied it to injured soldiers.\n\n\"Mondeville conducted the first unauthorized human dissection at the University of Montpellier in 1315, and his efforts were pivotal towards legalization of human dissection in France from 1340. His full-length illustrations marked a significant transformation in anatomical studies during those days, as human cadaveric dissection was prohibited and anatomists had to rely solely on textual descriptions prevalent from the ancient period.\"\n\nReferences\n\nExternal links\n\n1316 deaths\nYear of birth uncertain\n14th-century French physicians\nMedieval surgeons\n14th-century French writers\n13th-century French physicians",
"Jacopo Silvestri (15th century – 16th century) was an Italian cryptographer and author.\n\nHe was born in Florence. The limited information on his life comes from what he wrote about himself in his work, the Opus novum (\"New work\"), considered the second printed work about cryptography.\n\nWorks\n\nReferences \n\n \n\nItalian cryptographers\n16th-century deaths\n15th-century births"
]
|
[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise.",
"what are the canyons?",
"work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's",
"how did the canyons influence his work?",
"he observed the canyon's distinctive colours and birdsong.",
"what does transfiguration have to do with him?",
"Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ.",
"what was significant about that work?",
"The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra."
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | what instruments did he use in his compositions? | 7 | what instruments did Olivier Messiaen use in his compositions? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | CANNOTANSWER | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | false | [
"Composition for Twelve Instruments (1948, rev. 1954) is a serial music composition written by American composer Milton Babbitt for flute, oboe, clarinet, bassoon, horn, trumpet, harp, celesta, violin, viola, cello, and double bass. In it Babbitt for the first time employs a twelve-element duration set to serialize the rhythms as well as the pitches, predating Olivier Messiaen's (non-serial) \"Mode de valeurs et d'intensités\", but not the Turangalîla-Symphonie (1946–48), in which Messiaen used a duration series for the first time in the opening episode of the seventh movement, titled \"Turangalîla II\". (Babbitt had also earlier used a different kind of rhythmic series, and serial manipulation thereof, in his Three Compositions for Piano (1947) and Composition for Four Instruments (1948)).\n\nBabbitt's use of rhythm in Composition for Twelve Instruments was criticized by Peter Westergaard in Perspectives of New Music: \"can we be expected to hear a family resemblance between a dotted half note followed by a sixteenth note (the opening 'interval' of duration set P0) and an eighth note followed by a dotted eighth note (the opening 'interval' of duration set P2)?\" He would later employ an approach based on time-points, which Westergaard described as a solution to the above problems.\n\nThe combinatorial tone row used may be represented: 0 1 4 9 5 8 3 t 2 e 6 7\n\nDiscography\n Slowly Expanding Milton Babbitt Album: Composition for Twelve Instruments (1948, rev. 1954). Julietta Curenton (flute); James Austin Smith (oboe); Joshua Rubin (clarinet); Rebekah Heller (bassoon); David Byrd-Marrow (horn); Peter Evans (trumpet); Nuiko Wadden (harp); Steve Beck (celesta); Erik Carlson (violin); Chris Otto (viola); Chris Gross (cello); Randy Zigler (bass), produced by Erik Carlson, 2013. https://erikcarlson.bandcamp.com/track/composition-for-twelve-instruments\n\nSources\n\nFurther reading\n Borders, Barbara Ann (1979). \"Formal Aspects in Selected Instrumental Works of Milton Babbitt,\" Ph.D. dissertation, Lawrence: University of Kansas.\nHush, David (1982–83). \"Asynordinate Twelve-Tone Structures: Milton Babbitt's Compositions for Twelve Instruments (Part 1)\". Perspectives of New Music 21, nos. 1–2: 152–208. Cited in Vander Weg (2000), p. 56. . Also cited in Cited in Mead (1989), 11:1, p. 45. . Also cited in Dubiel 1990 28:2, p. 251 . Also cited in Roig-Franconi (2001) 41, p. 88 .\nHush, David (1983–84). \"Asynordinate Twelve-Tone Structures: Milton Babbitt's Compositions for Twelve Instruments (Part 2)\". Perspectives of New Music 22, nos. 1–2 (Fall-Winter/Spring-Summer): 103–16. Cited in Mead (1989a), 11:1, p. 45. .\n\nCompositions by Milton Babbitt\n1948 compositions\n20th-century classical music\nChamber music compositions\nCompositions for duodecet\nSerial compositions",
"This is a discography of the recordings of Vespro della Beata Vergine by Claudio Monteverdi – also known as his Vespers of 1610. Since the first vinyl recordings of the work in 1953, the Vespers have been recorded in numerous versions. Some versions are choral-based, others use one voice per part (OVPP). Some versions use modern instruments, but since the first recording on period instruments appeared in the 1960s their use has become normal. Sir John Eliot Gardiner has recorded the Vespers with both modern and period instruments, explaining that the latter are now played to a higher standard than when he made his first recording in the 1970s. In the late 1970s the Monteverdi orchestra, which he founded, transitioned to period instruments and became the English Baroque Soloists.\n\nThe recordings also reflect the fact that there is a debate about whether the Vespers were originally performed as a single work.\nSometimes it has been decided to add material or omit items in order to replicate a church service.\nIn a few cases, for example the Stevens recording, the \"sacred concertos\" that divide the psalms are replaced by antiphonal chants.\n\nIn the list, the \"Year\" column indicates year of initial issue of each recording. For pre-1982 recordings, details of the first compact disc issue are included; thereafter, all issues refer to CDs. Where the date of recording is significantly earlier than the issue date, a note has been added. Many of the recordings have been reissued, sometimes multiple times, often under different labels – reissue details are not included.\n\nList of recordings\n\nNotes and references\nNotes\n\nCitations\n\nSources\n \n \n\nDiscographies of classical compositions\n Compositions by Claudio Monteverdi"
]
|
[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise.",
"what are the canyons?",
"work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's",
"how did the canyons influence his work?",
"he observed the canyon's distinctive colours and birdsong.",
"what does transfiguration have to do with him?",
"Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ.",
"what was significant about that work?",
"The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra.",
"what instruments did he use in his compositions?",
"I don't know."
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | What was the beyond? | 8 | What was the beyond? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | true | [
"Victim is a song of the Bulgarian band Sevi, which became the third single to their debut album What Lies Beyond. The song was created in the summer of 2011 and later recorded as a single of the band. The featured video of the song was shot during the national tour of Sevi – the What Lies Beyond Tour and officially released on November 30, 2012.\nThe arrangement and the lyrics of the song launched the track in the rock charts right after the promotion of the video. It almost immediately reached fifth position in Kamenitza Rock 40 for a couple of weeks, as well as number 1 for a week.\n\nBackground\n\nReferences\n\nExternal links\n Official website\n Sevi at Facebook\n\n2012 songs\n2012 singles\nBulgarian songs",
"Beyond the Space, Beyond the Time is the debut album by Polish power/heavy metal band Pathfinder. The album was co-produced by the sound engineer Mariusz Pietka and Pathfinder, and was originally released to Asian audiences through Radtone Records on April 14, 2010 and later, worldwide through Sonic Attack Records.\n\nThe band's first music video, for the song The Lord of Wolves, was released on 15 March 2011.\n\nTrack listing\n\n \"Deep Into That Darkness Peering...\" - 3:23\n \"The Whisper of Ancient Rocks\" - 5:53\n \"Vita Reducta Through The Portal\" - 1:00\n \"Pathway to The Moon\" - 6:52\n \"All The Morning of The World\" - 5:04\n \"The Demon Awakens\" - 6:10\n \"Undiscovered Dreams\" - 5:00\n \"The Lord of Wolves\" - 6:40\n \"Sons of Immortal Fire\" - 5:12\n \"Stardust\" - 8:30\n \"Dance of Flames\" - 1:02\n \"To The Island of Immortal Fire\" - 5:06\n \"Beyond The Space, Beyond The Time\" - 10:34\n \"What If...\" - 1:28\n \"Forever Young (Alphaville Cover) (Japan Bonus Track)\" - 5:34\n\nPersonnel\n\nPathfinder\nSimon Kostro – lead vocals\nKarol Mania – lead & rhythm guitars\nKrzysztof Gunsen Elzanowski – lead & rhythm guitars\nKamil Ruth – drums\nBartosz Ogrodowicz – keyboards\nArkadiusz E. Ruth – bass\n\nGuest musicians\nAgatha Lejba-Migdalskiej – soprano\nMichał Jelonek – violin\n\nReferences\n\nExternal links\n \n\n2011 debut albums\nPathfinder (band) albums"
]
|
[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise.",
"what are the canyons?",
"work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's",
"how did the canyons influence his work?",
"he observed the canyon's distinctive colours and birdsong.",
"what does transfiguration have to do with him?",
"Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ.",
"what was significant about that work?",
"The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra.",
"what instruments did he use in his compositions?",
"I don't know.",
"What was the beyond?",
"Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra,"
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | what was he commissioned to do? | 9 | what was Olivier Messiaen commissioned to do? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | Eclairs sur l'au-dela..., which was premiered six months after his death. | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | false | [
"Pedro da Silva (Lisbon, circa 1647 - Canada, 1717) was the first post courier in New France, in what was to become part of Canada. He was Portuguese born and was known as Le Portugais (French for The Portuguese).\n\nPedro da Silva is known to have arrived in New France prior to 1673, having worked there as a common courier. Later on he is known to have relocated to Sault-au-Matelot (Québec City's lower town) and involved himself in the shipping of goods in the colony (by boat and cart). There is proof that in July 1693, Silva was paid 20 sols to take a package of letters from Montréal to Québec City. In 1705, he was commissioned by the (co)-Intendant of New France, Jacques Raudot, as the \"first courier\" in New France.\n\nStamp\nCanada Post issued a stamp (48¢) in June 2003 honouring Pedro da Silva.\n\nSee also\nPostage stamps and postal history of Canada\nPortuguese Canadians\n\nExternal links\n\nO primeiro carteiro do Canadá era português (November 10, 2007) in Diário de Notícias (Portuguese).\n\nCanada Post\nPortuguese emigrants to Canada\n1647 births\nPeople of New France\n1717 deaths\nPeople from Lisbon\n17th-century Portuguese people",
"Eric Winter (15 May 1905 – 1981) was a children's illustrator, most notable for his contributions to Ladybird books. Before his work for Ladybird Books, he worked on commission, producing work for Eagle, Swift and Girl magazines.\n\nBiography \n\nEric Winter was born in Edmonton, North London on 15 May 1905. \n\nHe was educated at Latymer School, where he first became interested in art. He later studied at Hornsey Art School where he specialized in commercial and fine art and charcoal. He painted in both water colours and oils, but preferred the use of water colours.\n \nIn order to provide for his family Eric took up commercial art and in the 1950s he was commissioned by Abbey National Building Society to design their logo, which became their famous trademark of two people sheltering under the roof of a house. \n\nEric Winter appeared in Artists Who's Who between 1960 and 1970 and is known for a painting called the 'Spinning Jenny' which he was commissioned to do, in oils, for the International Wool Secretariat in London.\n\nSeveral of his water colours were hung in the Royal Academy of Arts.\n\nOver his working life he was commissioned to illustrate various magazines – Woman's Own, Woman, The Girl. He was commissioned by Reverend Chad Varah to draw religious illustrations for his children's Bible stories in Swift and by Reverend Marcus Morris to do religious illustrations for the Eagle comic.\n\nFamily \nEric Winter had an older brother and a younger sister. His brother Francis became Head of the Teacher Training course at Hornsey Art School and became one of the foremost wood engravers in the country.\n\nEric Winter died in 1981 and is survived by his wife, daughter and son.\n\nReferences \n\n1905 births\n1981 deaths\nPeople from Edmonton, London\nPeople educated at The Latymer School\nArtists from London\nBritish painters\nBritish male painters\nBritish illustrators\nBritish children's book illustrators\n20th-century illustrators of fairy tales"
]
|
[
"Olivier Messiaen",
"Transfiguration, Canyons, St. Francis, and the Beyond",
"what does st. francis have to do with olivier messiaen?",
"In 1971, he was asked to compose a piece for the Paris Opera.",
"What was the piece he composed?",
"While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise.",
"what are the canyons?",
"work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's",
"how did the canyons influence his work?",
"he observed the canyon's distinctive colours and birdsong.",
"what does transfiguration have to do with him?",
"Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ.",
"what was significant about that work?",
"The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra.",
"what instruments did he use in his compositions?",
"I don't know.",
"What was the beyond?",
"Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra,",
"what was he commissioned to do?",
"Eclairs sur l'au-dela..., which was premiered six months after his death."
]
| C_e8ec6736a1c844c2a0dc070974e04d66_0 | Did he have any other significant works during this time? | 10 | Other than Eclairs sur l'au-dela, did Olivier Messiaen have any other significant works after his death? | Olivier Messiaen | Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jesus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux etoiles... was the result, first performed in 1974 in New York. In 1971, he was asked to compose a piece for the Paris Opera. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-Francois d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984 he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra. In the summer of 1978, Messiaen retired from teaching at the Conservatoire. He was promoted to the highest rank of the Legion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. Francois, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel. Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Eclairs sur l'au-dela..., which was premiered six months after his death. He died in Paris on April 27, 1992. On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert a quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994. CANNOTANSWER | On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians | Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his ("Quartet for the end of time") for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941 and professor of composition in 1966 at the Paris Conservatoire, positions that he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Tristan Murail, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
Messiaen perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Biography
Youth and studies
Olivier Eugène Prosper Charles Messiaen was born at 11:00 on 10 December 1908 at 20 Boulevard Sixte-Isnard in Avignon, France, into a literary family. He was the elder of two sons of Cécile Anne Marie-Antoinette Sauvage, a poet, and Pierre Léon Joseph Messiaen, a scholar and teacher of English from a farm near Wervicq-Sud who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, ("The Budding Soul"), the last chapter of ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career. His younger brother Alain André Prosper Messiaen was also a poet.
At the outbreak of World War I, Pierre enlisted and Cécile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphiné, where he had a house built south of Grenoble where he composed most of his music.
He took piano lessons, having already taught himself to play. His interests included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song ... gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera , which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.
At the Paris Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupré. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.
While a student he composed his first published works—his eight Préludes for piano (the earlier Le banquet céleste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public début came in 1931 with his orchestral suite Les offrandes oubliées. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.
La Trinité, La jeune France, and Messiaen's war
In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than 60 years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He also married the violinist and composer Claire Delbos (daughter of Victor Delbos) that year. Their marriage inspired him both to compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.
In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
In response to a commission for a piece to accompany light-and-water shows on the Seine during the Paris Exposition, in 1937 Messiaen demonstrated his interest in using the ondes Martenot, an electronic instrument, by composing Fêtes des belles eaux for an ensemble of six. He included a part for the instrument in several of his subsequent compositions. During this period he composed several multi-movement organ works. He arranged his orchestral suite L'ascension ("The Ascension") for organ, replacing the orchestral version's third movement with an entirely new movement, Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Ecstasies of a soul before the glory of Christ which is the soul's own") (). He also wrote the extensive cycles La Nativité du Seigneur ("The Nativity of the Lord") and Les corps glorieux ("The glorious bodies").
At the outbreak of World War II, Messiaen was drafted into the French army. Due to poor eyesight, he was enlisted as a medical auxiliary rather than an active combatant. He was captured at Verdun and taken to Görlitz in May 1940, and was imprisoned at Stalag VIII-A. He met a violinist, a cellist and a clarinettist among his fellow prisoners. He wrote a trio for them, which he gradually incorporated into his Quatuor pour la fin du temps ("Quartet for the End of Time"). With the help of a friendly German guard (), he acquired manuscript paper and pencils, and was able to assemble the three other POWs to help him perform the piece. The Quartet was first performed in January 1941 to an audience of prisoners and prison guards, with the composer playing a poorly maintained upright piano in freezing conditions. The enforced introspection and reflection of camp life bore fruit in one of 20th-century classical music's acknowledged masterpieces. The title's "end of time" alludes to the Apocalypse, and also to the way that Messiaen, through rhythm and harmony, used time in a manner completely different from his predecessors and contemporaries.
The idea of a European Centre of Education and Culture "Meeting Point Music Messiaen" on the site of Stalag VIII-A, for children and youth, artists, musicians and everyone in the region emerged in December 2004, was developed with the involvement of Messiaen's widow as a joint project between the council districts in Germany and Poland, and was finally completed in 2014.
Tristan and serialism
Shortly after his release from Görlitz in May of 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956–57, Tristan Murail in 1967–72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.
In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jésus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la présence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.
Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.
Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrète, music for recorded sounds.
Birdsong and the 1960s
When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.
He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.
Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.
Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.
His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Académie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.
Transfiguration, Canyons, St. Francis, and the Beyond
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the US in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong. The twelve-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.
In 1971, he was asked to compose a piece for the Paris Opéra. While reluctant to undertake such a major project, he was persuaded in 1975 to accept the commission and began work on his Saint-François d'Assise. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983. Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so), but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.
In the summer of 1978, Messiaen retired from teaching at the Paris Conservatoire. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987. An operation prevented his participation in the celebration of his 70th birthday in 1978, but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended, and Erato's publication of a seventeen-CD collection of Messiaen's music including a disc of the composer in conversation with Claude Samuel.
Although in considerable pain near the end of his life (requiring repeated surgery on his back) he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which was premièred six months after his death. He died in Paris on 27 April 1992.
On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to, namely herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Yvonne Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September of 1994.
Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of Catholic liturgy. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love and redemption.
Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition. For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.
As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Western artistic influences
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add", but the modes he did use are similarly symmetrical.
Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy and Isaac Albéniz. He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov, although he modified the final interval in this motif from a perfect fourth to a tritone (Example 3).
Messiaen was further influenced by Surrealism, as may be seen from the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind") and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).
Colour
Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.
In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").
When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."
Symmetry
Many of Messiaen's composition techniques made use of symmetries of time and pitch.
Time
From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Pitch
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works. Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used also by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.
Time and rhythm
As well as making use of non-retrogradable rhythm and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example). This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.
A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent). Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."
Harmony
In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. An example of Messiaen's harmonic use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental base note E.
Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).
In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations (for example, his frequent use of the added sixth chord as a resolution).
Birdsong
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for eighteen violins, each one playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.
Serialism
For some compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".
Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.
Writings
See also
Olivier Messiaen Competition
Notes
References
Further reading
Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie" Norman: The University of Oklahoma.
Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.
Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis." College Music Symposium 40: 117–39.
Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.
Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise." Music Theory Online 8.2 (August 2002). Music Theory Online
Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.
Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
Benitez, Vincent P. (2008). "Messiaen as Improviser." Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.
Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist." Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).
Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.
Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, IN: Indiana University Press. .
Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.
Burns, Jeffrey Phillips (1995). "Messiaen's Modes of Limited Transposition Reconsidered". M.M. thesis, Madison: University of Wisconsin-Madison.
Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. .
Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.
Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.
Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.
Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.
Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.
Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern University
McGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern University
Ngim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.
Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill
Puspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of Cincinnati
Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
Shenton, Andrew (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.
Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.
Films
Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry.
Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
External links
"Messiaen, Olivier" in Oxford Music Online (by subscription)
BBC Messiaen Profile
oliviermessiaen.org Up to date website by Malcolm Ball, includes the latest recordings and concerts, a comprehensive bibliography, photos, analyses and reviews, a very extensive bio of Yvonne Loriod with discography, and more.
Infography about Olivier Messiaen
oliviermessiaen.net, hosted by the Boston University Messiaen Project [BUMP]. Includes detailed information on the composer's life and works, events, and links to other Messiaen websites.
www.philharmonia.co.uk/messiaen, the Philharmonia Orchestra's Messiaen website. The site contains articles, unseen images, programme notes and films to go alongside the orchestra's series of concerts celebrating the Centenary of Olivier Messiaen's birth.
Music for the End of Time, David Schiff article in The Nation, posted January 25, 2006 (February 13, 2006 issue). Formally a review of Messiaen by Peter Hill and Nigel Simeone, but provides an overview of Messiaen's life and works.
Music and the Holocaust – Olivier Messiaen
My Messiaen Modes A visual representation of Messiaen's modes of limited transposition.
Listening
played by Martina Trumpp, violin and Bohumir Stehlik, piano
Thème et variations – Helen Kim, violin; Adam Bowles, piano Luna Nova New Music Ensemble
Le merle noir – John McMurtery, flute; Adam Bowles, piano Luna Nova New Music Ensemble
Quatuor pour la fin du temps – Luna Nova New Music Ensemble
Regard de l'esprit de joie from Vingt regards..., Tom Poster, pianist
played on a Mühleisen pipe organ
In-depth feature on Olivier Messiaen by Radio France International's English service
by Ukho Ensemble Kyiv
1908 births
1992 deaths
20th-century classical composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Academics of the École Normale de Musique de Paris
Composers for piano
Composers for pipe organ
EMI Classics and Virgin Classics artists
Ernst von Siemens Music Prize winners
French classical composers
French male classical composers
French classical organists
French male organists
French composers of sacred music
French military personnel of World War II
French ornithologists
Deutsche Grammophon artists
French Roman Catholics
Kyoto laureates in Arts and Philosophy
Members of the Académie des beaux-arts
Modernist composers
Organ improvisers
Musicians from Avignon
Pupils of Maurice Emmanuel
Royal Philharmonic Society Gold Medallists
Schola Cantorum de Paris faculty
Wolf Prize in Arts laureates
World War II prisoners of war held by Germany
Grand Croix of the Légion d'honneur
Commanders of the Order of the Crown (Belgium)
Recipients of the Léonie Sonning Music Prize
20th-century French composers
20th-century French male musicians | true | [
"To All My Friends On Shore is a 1972 television film drama starring Bill Cosby, and co-starring Gloria Foster. Cosby not only starred in the film, but produced it and worked on the film's music.\n\nPlot\nBlue (Cosby) works as a skycap for an airport. At the same time he works a second job as a junk scavenger. His wife Serena (Foster) works as a maid and is going to school trying to become a nurse. Blue is busy working trying to save money to buy his family a house so they can leave the projects. His young son, Vandy (Hines), resents him because he won't let him have any fun like his friends. It is eventually discovered that Vandy has sickle cell anemia. It is then that Blue realizes what he should spend his time on - being with his family.\n\nCast\nBill Cosby....Blue\nGloria Foster....Serena Blue\nDennis Hines....Evander \"Vandy\" Blue Jr.\n\nProduction\nThis was one of a string of film/TV productions Bill Cosby did in the 1970s. After he did The Bill Cosby Show (1969-1971), Cosby did other works. He did this film plus Man and Boy and Hickey & Boggs, the latter of which paired him with his I Spy co star Robert Culp. In addition he produced the Saturday morning series Fat Albert and the Cosby Kids which ran on CBS until the 1980s. Although Cosby did drama, he stayed with it in brief and concentrated on comedy; during this time, he worked with Gloria Foster, who appeared in other Cosby shows and films. As the 1970s closed, Cosby stayed with Fat Albert and worked on variety shows for Prime Time that ultimately bombed and were cancelled, including Cos.\n\nReferences\n\nExternal links\n\nTo All My Friends on Shore at URBTPlus\n\nAmerican drama films\n1970s drama films\nAmerican television films\nAmerican films",
"This is a list of significant public domain resources that are behind a paywall, in other words information which it is legal under copyright law for anyone to copy and distribute, but which are currently charged for on the Internet. Notable categories are some government publications, including legal documents, works on which copyright has expired, including paintings and other artworks, books and journals. In the case of printed works there is often some availability from libraries. Some works may be mirrored by activists on-line, such action may be legal from a copyright point of view, but contrary to the terms and conditions of the site hosting the paywalled information.\n\nUnited States\nIn the United States, all work of the federal government (with a few exceptions) and all items published prior to January 1, 1925 are in the public domain, as are any items published without a complete copyright notice before 1988 or any items published from December 31, 1963 or earlier that did not have their copyrights renewed. (see: public domain in the United States)\n\n United States federal court documents stored on the PACER system.\n Los Angeles Times archive\n The Washington Post archive from 1877\n The Atlanta Journal-Constitution archive from 1868\n The Christian Science Monitor archive from 1908\n The Boston Globe archive from 1872\n Hartford Courant from 1764\n Chicago Tribune from 1852\n The New York Times archive from 1851\n National Centers for Environmental Information records\n\nUnited Kingdom\n The National Archives archive\n\nReferences\n\nOnline archives\nPublic domain"
]
|
[
"Lowell Thomas",
"Gaffes"
]
| C_ad45c3ed30d84f508f070326b4b509bc_0 | What did he do | 1 | What did Lowell Thomas do? | Lowell Thomas | Thomas's most amusing on-air gaffe occurred during one of his daily broadcasts in the early 1960s. He was reading a story "cold" (going on the air without pre-reading his copy, contrary to his usual practice) which contained the phrase "She suffered a near fatal heart attack". The line came out of Thomas's mouth as "She suffered a near fart ... err fatal heart attack". Realizing instantly what he had said, he tried to continue but eventually collapsed into gales of laughter, which continued into - and beyond - his announcer's chuckling sign-off for the day. Thomas' long-time friend and ghostwriter Prosper Buranelli wrote the nightly newscasts. The day's script was sent by teletype to Thomas' home in Pawling, NY from which he usually did his broadcast. One evening, Buranelli's final story was about an actress going into a Los Angeles hotel with a Great Dane. The dog's tail got caught in the revolving door and she sued the hotel for $10,000. Buranelli added a comment to the story to give Thomas a laugh before going on air, but Thomas read the story as written with Buranelli's comment, "Who ever thought a piece of tail was worth 10 grand?" Another on-air mishap had Thomas reading a story about President Eisenhower's visit to Hershey, Pennsylvania "where he was greeted by the folks who make chocolate bars, with and without nuts." ("Nuts" is a euphemism for "testicles.") As Thomas read the next story, he could hear the announcer breaking up with laughter in the New York City studio, which caused Thomas to break up, as well. Air checks of some of Thomas' gaffes (as well as recreations of his "bloopers") are available to collectors. CANNOTANSWER | Thomas's most amusing on-air gaffe | Refers to the travel journalist. For the eponymous travel journalism awards program, see Lowell Thomas Travel Journalism Awards.
Lowell Jackson Thomas (April 6, 1892 – August 29, 1981) was an American writer, actor, broadcaster, and traveler, best remembered for publicising T. E. Lawrence (Lawrence of Arabia). He was also involved in promoting the Cinerama widescreen system. In 1954, he led a group of New York City-based investors to buy majority control of Hudson Valley Broadcasting, which, in 1957, became Capital Cities Television Corporation.
Early life
Thomas was born in Woodington, Darke County, Ohio, to Harry and Harriet (née Wagoner) Thomas. His father was a doctor, his mother a teacher. In 1900, the family moved to the mining town of Victor, Colorado. Thomas worked there as a gold miner, a cook, and a reporter on the newspaper.
In 1911, Thomas graduated from Victor High School where one of his teachers was Mabel Barbee Lee. and began work for the Chicago Journal, writing for it until 1914. Thomas also was on the faculty of Chicago-Kent College of Law (now part of Illinois Institute of Technology), where he taught oratory from 1912 to 1914. He then went to New Jersey where he studied for a master's at Princeton University (he received the degree in 1916) and again taught oratory at the university.
Career
Thomas was a relentless self-promoter, and he persuaded railroads to give him free passage in exchange for articles extolling rail travel. When he visited Alaska, he hit upon the idea of the travelogue, movies about faraway places. When the United States entered World War I, President Wilson sent him and others to "compile a history of the conflict", but the mission was not academic. The war was not popular in the United States, and Thomas was sent to find material that would encourage the American people to support it. He did not want to merely write about the war, he wanted to film it.
Lawrence of Arabia
Thomas and cameraman Harry Chase first went to the Western Front, but the trenches had little to inspire the American public. They then went to Italy, where he heard of General Allenby's campaign against the Ottoman Empire in Palestine. Thomas traveled to Palestine as an accredited war correspondent with the permission of the British Foreign Office. In Jerusalem, he met T. E. Lawrence, a captain in the British Army stationed in Jerusalem. Lawrence was spending £200,000 a month encouraging the inhabitants of Palestine to rebel against the Turks. Thomas and Chase spent several weeks with him in the desert, although Lawrence had told them that it would be "several days". Lawrence agreed to provide Thomas with material on the condition that Thomas also photograph and interview Arab leaders such as Emir Feisal.
Thomas shot dramatic footage of Lawrence, then returned to America and began giving public lectures in 1919 on the war in Palestine, "supported by moving pictures of veiled women, Arabs in their picturesque robes, camels and dashing Bedouin cavalry." His lectures were very popular and audiences large, and he "took the nation by storm" in the words of one modern biographer. He agreed to take the lecture to Britain, but only "if asked by the King and given Drury Lane or Covent Garden" as a lecture venue. His conditions were met, and he opened a series at Covent Garden on August 14, 1919. "And so followed a series of some hundreds of lecture–film shows, attended by the highest in the land".
At the opening of his six-month London run, there were incense braziers, exotically dressed women dancing before images of the Pyramids, and the band of the Welsh Guards playing accompaniment. Lawrence saw the show several times. He later claimed to dislike it, but it generated valuable publicity for his book. To strengthen the emphasis on Lawrence in the show, Thomas needed more photographs of him than Chase had taken in 1918. Lawrence claimed to be shy of publicity, but he agreed to a series of posed portraits in Arab dress in London.
Thomas genuinely admired Lawrence and continued to defend him against attacks on his reputation. Lawrence's brother Arnold allowed Thomas to contribute to T.E. Lawrence by his Friends (1937), a collection of essays and reminiscences published after Lawrence's death.
Cinerama
Thomas was a magazine editor during the 1920s, but he never lost his fascination with the movies. He narrated Twentieth Century Fox's Movietone newsreels until 1952, when he went into business with Mike Todd and Merian C. Cooper to exploit Cinerama, a film exhibition format using three projectors and an enormous curved screen with seven-channel surround sound. He produced the documentaries This is Cinerama, Seven Wonders of the World, and Search for Paradise in this format in 1956, with a 1957 release date.
Radio commentator and newscaster
Thomas was first heard on radio delivering talks about his travels in 1929 and 1930: for example, he spoke on the NBC Radio Network in late July 1930 about his trip to Cuba. Then, in late September 1930, he took over as the host of the Sunday evening Literary Digest program, replacing the previous host, Floyd Gibbons.
On this program, he told stories of his travels. The show was fifteen-minutes long, and heard on the NBC Network. Thomas soon changed the focus of the program from his own travels to interesting stories about other people, and by early October 1930, he was also including more news stories. It was that point that the program, which was now on six days a week, moved to the CBS Radio network.
After two years, he switched back to the NBC Radio network but returned to CBS in 1947. He was not an employee of either NBC or CBS, contrary to today's practices, but was employed by the broadcast's sponsor Sunoco. He returned to CBS to take advantage of lower capital-gains tax rates, establishing an independent company to produce the broadcast which he sold to CBS. He hosted the first television news broadcast in 1939 and the first regularly scheduled television news broadcast beginning on February 21, 1940 over W2XBS (now WNBC) New York, which was a camera simulcast of his radio broadcast.
In the summer of 1940, Thomas anchored a television broadcast of the 1940 Republican National Convention, the first live telecast of a political convention, which was fed from Philadelphia to W2XBS and on to W2XB. He was not actually in Philadelphia but was anchoring the broadcast from a New York studio and merely identifying speakers who addressed the convention.
In April 1945, Thomas flew in a normally single-person P-51 Mustang over Berlin while it was being attacked by the Soviet Union, reporting live via radio.
In 1953, Thomas was featured in The Ford 50th Anniversary Show that was broadcast simultaneously on the NBC and CBS television networks. The program was viewed by 60 million persons. Thomas presented a tribute to the classic days of radio.
His persistent debt problems were remedied by Thomas' manager/investing partner, Frank Smith who, in 1954, became the President of co-owned Hudson Valley Broadcasting Company, which, in 1957, became Capital Cities Television Corporation.
The television news simulcast was a short-lived venture for Thomas, as he favored radio. It was over radio that he presented and commented upon the news for four decades until his retirement in 1976, the longest radio career of anyone in his day, since surpassed by Paul Harvey. His signature sign-on was "Good evening, everybody" and his sign-off was "So long, until tomorrow," phrases that he used as titles for his two volumes of memoirs.
Personal life
Thomas' wife Frances often traveled with him. She died in 1975, and he married Marianna Munn in 1977. They embarked on a honeymoon trip that took him to many of his favorite old destinations. Thomas died at his home in Pawling, New York in 1981. He is buried in Christ Church Cemetery. Marianna died in Dayton, Ohio on January 28, 2010 after suffering renal failure.
Legacy and honors
The communications building at Marist College in Poughkeepsie, New York is named in honor of Thomas, after he received an honorary degree from the college in 1981. The Lowell Thomas Archives are housed as part of the college library. In 1945, Thomas received the Alfred I. duPont Award. In 1971, Thomas received the Golden Plate Award of the American Academy of Achievement. In 1976, President Gerald Ford awarded him the Presidential Medal of Freedom. He has two stars on the Hollywood Walk of Fame and was inducted into the National Radio Hall of Fame in 1989. The Thomas Mountains in Antarctica are named for him.
Published works
Among Thomas's books are:
With Lawrence in Arabia, 1924
The First World Flight, 1925
Beyond Khyber Pass, 1925
Count Luckner, The Sea Devil, 1927
European Skyways, 1927
The Boy's Life of Colonel Lawrence, 1927
Adventures in Afghanistan for Boys, 1928
Raiders of the Deep, 1928
The Sea Devil's Fo'c'sle, 1929
Woodfill of the Regulars, 1929
The Hero of Vincennes: the Story of George Rogers Clark, 1929
The Wreck of the Dumaru, 1930
Lauterbach of the China Sea, 1930
India--Land of the Black Pagoda, 1930
Rolling Stone: The Life and Adventures of Arthur Radclyffe Dugmore., 1931 See Arthur Radclyffe Dugmore
Tall Stories, 1931
Kabluk of the Eskimo, 1932
This Side of Hell, 1932
Old Gimlet Eye: The Adventures of General Smedley Butler, 1933
Born to Raise Hell, 1933
The Untold Story of Exploration, 1935
Fan Mail, 1935
A Trip to New York With Bobby and Betty, 1936
Men of Danger, 1936
Kipling Stories and a Life of Kipling, 1936
Seeing Canada With Lowell Thomas, 1936
Seeing India With Lowell Thomas, 1936
Seeing Japan With Lowell Thomas, 1937
Seeing Mexico With Lowell Thomas, 1937
Adventures Among the Immortals, 1937
Hungry Waters, 1937
Wings Over Asia, 1937
Magic Dials, 1939
In New Brunswick We'll Find It, 1939
Soft Ball! So What?, 1940
How To Keep Mentally Fit, 1940
Stand Fast for Freedom, 1940
Pageant of Adventure, 1940
Pageant of Life, 1941
Pageant of Romance, 1943
These Men Shall Never Die, 1943
Out of this World: Across the Himalayas to Tibet (1951)
Back to Mandalay, 1951
Great True Adventures, 1955
The Story of the New York Thruway, 1955
Seven Wonders of the World, 1956
History As You Heard It 1957
The Story of the St. Lawrence Seaway, 1957
The Vital Spark, 1959
Sir Hubert Wilkins, A Biography, 1961
More Great True Adventures, 1963
Book of the High Mountains, 1964 ()
Famous First Flights That Changed History, 1968 ()
Burma Jack, 1971 ()
Doolittle: A Biography, 1976 ()
Good Evening Everybody: From Cripple Creek to Samarkand, 1976 ()
So Long Until Tomorrow, 1977 ()
Further reading
References
Notes
Sources
Bowen, Norman (ed) (1968) The Stranger Everyone Knows Doubleday
Hamilton, John Maxwell (2011) Journalism's Roving Eye: A History of American Foreign Reporting LSU Press pg 248
External links
With Lawrence in Arabia at Internet Archive
Lowell Thomas interview at American Heritage
"Creating History: Lowell Thomas and Lawrence of Arabia" online history exhibit at Clio Visualizing History.
An Evening with Lowell Thomas (August 13, 1981), on the YouTube-channel of Pikes Peak Library District.
1892 births
1981 deaths
American broadcast news analysts
20th-century American businesspeople
American male journalists
American radio journalists
American travel writers
Peabody Award winners
People from Darke County, Ohio
Presidential Medal of Freedom recipients
University of Denver alumni
Princeton University alumni
Valparaiso University alumni
T. E. Lawrence
Royal Canadian Geographical Society fellows | false | [
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)",
"\"What Would Steve Do?\" is the second single released by Mumm-Ra on Columbia Records, which was released on February 19, 2007. It is a re-recorded version of the self-release they did in April 2006. It reached #40 in the UK Singles Chart, making it their highest charting single.\n\nTrack listings\nAll songs written by Mumm-Ra.\n\nCD\n\"What Would Steve Do?\"\n\"Cute As\"\n\"Without You\"\n\n7\"\n\"What Would Steve Do?\"\n\"What Would Steve Do? (Floorboard Mix)\"\n\nGatefold 7\"\n\"What Would Steve Do?\"\n\"Cute As\"\n\nReferences\n\n2007 singles\nMumm-Ra (band) songs\n2006 songs\nColumbia Records singles"
]
|
[
"Lowell Thomas",
"Gaffes",
"What did he do",
"Thomas's most amusing on-air gaffe"
]
| C_ad45c3ed30d84f508f070326b4b509bc_0 | What is this | 2 | What is Thomas's most amusing on-air gaffe? | Lowell Thomas | Thomas's most amusing on-air gaffe occurred during one of his daily broadcasts in the early 1960s. He was reading a story "cold" (going on the air without pre-reading his copy, contrary to his usual practice) which contained the phrase "She suffered a near fatal heart attack". The line came out of Thomas's mouth as "She suffered a near fart ... err fatal heart attack". Realizing instantly what he had said, he tried to continue but eventually collapsed into gales of laughter, which continued into - and beyond - his announcer's chuckling sign-off for the day. Thomas' long-time friend and ghostwriter Prosper Buranelli wrote the nightly newscasts. The day's script was sent by teletype to Thomas' home in Pawling, NY from which he usually did his broadcast. One evening, Buranelli's final story was about an actress going into a Los Angeles hotel with a Great Dane. The dog's tail got caught in the revolving door and she sued the hotel for $10,000. Buranelli added a comment to the story to give Thomas a laugh before going on air, but Thomas read the story as written with Buranelli's comment, "Who ever thought a piece of tail was worth 10 grand?" Another on-air mishap had Thomas reading a story about President Eisenhower's visit to Hershey, Pennsylvania "where he was greeted by the folks who make chocolate bars, with and without nuts." ("Nuts" is a euphemism for "testicles.") As Thomas read the next story, he could hear the announcer breaking up with laughter in the New York City studio, which caused Thomas to break up, as well. Air checks of some of Thomas' gaffes (as well as recreations of his "bloopers") are available to collectors. CANNOTANSWER | He was reading a story "cold" (going on the air without pre-reading his copy, contrary to his usual practice | Refers to the travel journalist. For the eponymous travel journalism awards program, see Lowell Thomas Travel Journalism Awards.
Lowell Jackson Thomas (April 6, 1892 – August 29, 1981) was an American writer, actor, broadcaster, and traveler, best remembered for publicising T. E. Lawrence (Lawrence of Arabia). He was also involved in promoting the Cinerama widescreen system. In 1954, he led a group of New York City-based investors to buy majority control of Hudson Valley Broadcasting, which, in 1957, became Capital Cities Television Corporation.
Early life
Thomas was born in Woodington, Darke County, Ohio, to Harry and Harriet (née Wagoner) Thomas. His father was a doctor, his mother a teacher. In 1900, the family moved to the mining town of Victor, Colorado. Thomas worked there as a gold miner, a cook, and a reporter on the newspaper.
In 1911, Thomas graduated from Victor High School where one of his teachers was Mabel Barbee Lee. and began work for the Chicago Journal, writing for it until 1914. Thomas also was on the faculty of Chicago-Kent College of Law (now part of Illinois Institute of Technology), where he taught oratory from 1912 to 1914. He then went to New Jersey where he studied for a master's at Princeton University (he received the degree in 1916) and again taught oratory at the university.
Career
Thomas was a relentless self-promoter, and he persuaded railroads to give him free passage in exchange for articles extolling rail travel. When he visited Alaska, he hit upon the idea of the travelogue, movies about faraway places. When the United States entered World War I, President Wilson sent him and others to "compile a history of the conflict", but the mission was not academic. The war was not popular in the United States, and Thomas was sent to find material that would encourage the American people to support it. He did not want to merely write about the war, he wanted to film it.
Lawrence of Arabia
Thomas and cameraman Harry Chase first went to the Western Front, but the trenches had little to inspire the American public. They then went to Italy, where he heard of General Allenby's campaign against the Ottoman Empire in Palestine. Thomas traveled to Palestine as an accredited war correspondent with the permission of the British Foreign Office. In Jerusalem, he met T. E. Lawrence, a captain in the British Army stationed in Jerusalem. Lawrence was spending £200,000 a month encouraging the inhabitants of Palestine to rebel against the Turks. Thomas and Chase spent several weeks with him in the desert, although Lawrence had told them that it would be "several days". Lawrence agreed to provide Thomas with material on the condition that Thomas also photograph and interview Arab leaders such as Emir Feisal.
Thomas shot dramatic footage of Lawrence, then returned to America and began giving public lectures in 1919 on the war in Palestine, "supported by moving pictures of veiled women, Arabs in their picturesque robes, camels and dashing Bedouin cavalry." His lectures were very popular and audiences large, and he "took the nation by storm" in the words of one modern biographer. He agreed to take the lecture to Britain, but only "if asked by the King and given Drury Lane or Covent Garden" as a lecture venue. His conditions were met, and he opened a series at Covent Garden on August 14, 1919. "And so followed a series of some hundreds of lecture–film shows, attended by the highest in the land".
At the opening of his six-month London run, there were incense braziers, exotically dressed women dancing before images of the Pyramids, and the band of the Welsh Guards playing accompaniment. Lawrence saw the show several times. He later claimed to dislike it, but it generated valuable publicity for his book. To strengthen the emphasis on Lawrence in the show, Thomas needed more photographs of him than Chase had taken in 1918. Lawrence claimed to be shy of publicity, but he agreed to a series of posed portraits in Arab dress in London.
Thomas genuinely admired Lawrence and continued to defend him against attacks on his reputation. Lawrence's brother Arnold allowed Thomas to contribute to T.E. Lawrence by his Friends (1937), a collection of essays and reminiscences published after Lawrence's death.
Cinerama
Thomas was a magazine editor during the 1920s, but he never lost his fascination with the movies. He narrated Twentieth Century Fox's Movietone newsreels until 1952, when he went into business with Mike Todd and Merian C. Cooper to exploit Cinerama, a film exhibition format using three projectors and an enormous curved screen with seven-channel surround sound. He produced the documentaries This is Cinerama, Seven Wonders of the World, and Search for Paradise in this format in 1956, with a 1957 release date.
Radio commentator and newscaster
Thomas was first heard on radio delivering talks about his travels in 1929 and 1930: for example, he spoke on the NBC Radio Network in late July 1930 about his trip to Cuba. Then, in late September 1930, he took over as the host of the Sunday evening Literary Digest program, replacing the previous host, Floyd Gibbons.
On this program, he told stories of his travels. The show was fifteen-minutes long, and heard on the NBC Network. Thomas soon changed the focus of the program from his own travels to interesting stories about other people, and by early October 1930, he was also including more news stories. It was that point that the program, which was now on six days a week, moved to the CBS Radio network.
After two years, he switched back to the NBC Radio network but returned to CBS in 1947. He was not an employee of either NBC or CBS, contrary to today's practices, but was employed by the broadcast's sponsor Sunoco. He returned to CBS to take advantage of lower capital-gains tax rates, establishing an independent company to produce the broadcast which he sold to CBS. He hosted the first television news broadcast in 1939 and the first regularly scheduled television news broadcast beginning on February 21, 1940 over W2XBS (now WNBC) New York, which was a camera simulcast of his radio broadcast.
In the summer of 1940, Thomas anchored a television broadcast of the 1940 Republican National Convention, the first live telecast of a political convention, which was fed from Philadelphia to W2XBS and on to W2XB. He was not actually in Philadelphia but was anchoring the broadcast from a New York studio and merely identifying speakers who addressed the convention.
In April 1945, Thomas flew in a normally single-person P-51 Mustang over Berlin while it was being attacked by the Soviet Union, reporting live via radio.
In 1953, Thomas was featured in The Ford 50th Anniversary Show that was broadcast simultaneously on the NBC and CBS television networks. The program was viewed by 60 million persons. Thomas presented a tribute to the classic days of radio.
His persistent debt problems were remedied by Thomas' manager/investing partner, Frank Smith who, in 1954, became the President of co-owned Hudson Valley Broadcasting Company, which, in 1957, became Capital Cities Television Corporation.
The television news simulcast was a short-lived venture for Thomas, as he favored radio. It was over radio that he presented and commented upon the news for four decades until his retirement in 1976, the longest radio career of anyone in his day, since surpassed by Paul Harvey. His signature sign-on was "Good evening, everybody" and his sign-off was "So long, until tomorrow," phrases that he used as titles for his two volumes of memoirs.
Personal life
Thomas' wife Frances often traveled with him. She died in 1975, and he married Marianna Munn in 1977. They embarked on a honeymoon trip that took him to many of his favorite old destinations. Thomas died at his home in Pawling, New York in 1981. He is buried in Christ Church Cemetery. Marianna died in Dayton, Ohio on January 28, 2010 after suffering renal failure.
Legacy and honors
The communications building at Marist College in Poughkeepsie, New York is named in honor of Thomas, after he received an honorary degree from the college in 1981. The Lowell Thomas Archives are housed as part of the college library. In 1945, Thomas received the Alfred I. duPont Award. In 1971, Thomas received the Golden Plate Award of the American Academy of Achievement. In 1976, President Gerald Ford awarded him the Presidential Medal of Freedom. He has two stars on the Hollywood Walk of Fame and was inducted into the National Radio Hall of Fame in 1989. The Thomas Mountains in Antarctica are named for him.
Published works
Among Thomas's books are:
With Lawrence in Arabia, 1924
The First World Flight, 1925
Beyond Khyber Pass, 1925
Count Luckner, The Sea Devil, 1927
European Skyways, 1927
The Boy's Life of Colonel Lawrence, 1927
Adventures in Afghanistan for Boys, 1928
Raiders of the Deep, 1928
The Sea Devil's Fo'c'sle, 1929
Woodfill of the Regulars, 1929
The Hero of Vincennes: the Story of George Rogers Clark, 1929
The Wreck of the Dumaru, 1930
Lauterbach of the China Sea, 1930
India--Land of the Black Pagoda, 1930
Rolling Stone: The Life and Adventures of Arthur Radclyffe Dugmore., 1931 See Arthur Radclyffe Dugmore
Tall Stories, 1931
Kabluk of the Eskimo, 1932
This Side of Hell, 1932
Old Gimlet Eye: The Adventures of General Smedley Butler, 1933
Born to Raise Hell, 1933
The Untold Story of Exploration, 1935
Fan Mail, 1935
A Trip to New York With Bobby and Betty, 1936
Men of Danger, 1936
Kipling Stories and a Life of Kipling, 1936
Seeing Canada With Lowell Thomas, 1936
Seeing India With Lowell Thomas, 1936
Seeing Japan With Lowell Thomas, 1937
Seeing Mexico With Lowell Thomas, 1937
Adventures Among the Immortals, 1937
Hungry Waters, 1937
Wings Over Asia, 1937
Magic Dials, 1939
In New Brunswick We'll Find It, 1939
Soft Ball! So What?, 1940
How To Keep Mentally Fit, 1940
Stand Fast for Freedom, 1940
Pageant of Adventure, 1940
Pageant of Life, 1941
Pageant of Romance, 1943
These Men Shall Never Die, 1943
Out of this World: Across the Himalayas to Tibet (1951)
Back to Mandalay, 1951
Great True Adventures, 1955
The Story of the New York Thruway, 1955
Seven Wonders of the World, 1956
History As You Heard It 1957
The Story of the St. Lawrence Seaway, 1957
The Vital Spark, 1959
Sir Hubert Wilkins, A Biography, 1961
More Great True Adventures, 1963
Book of the High Mountains, 1964 ()
Famous First Flights That Changed History, 1968 ()
Burma Jack, 1971 ()
Doolittle: A Biography, 1976 ()
Good Evening Everybody: From Cripple Creek to Samarkand, 1976 ()
So Long Until Tomorrow, 1977 ()
Further reading
References
Notes
Sources
Bowen, Norman (ed) (1968) The Stranger Everyone Knows Doubleday
Hamilton, John Maxwell (2011) Journalism's Roving Eye: A History of American Foreign Reporting LSU Press pg 248
External links
With Lawrence in Arabia at Internet Archive
Lowell Thomas interview at American Heritage
"Creating History: Lowell Thomas and Lawrence of Arabia" online history exhibit at Clio Visualizing History.
An Evening with Lowell Thomas (August 13, 1981), on the YouTube-channel of Pikes Peak Library District.
1892 births
1981 deaths
American broadcast news analysts
20th-century American businesspeople
American male journalists
American radio journalists
American travel writers
Peabody Award winners
People from Darke County, Ohio
Presidential Medal of Freedom recipients
University of Denver alumni
Princeton University alumni
Valparaiso University alumni
T. E. Lawrence
Royal Canadian Geographical Society fellows | false | [
"\"This Is What It Feels Like\" is a 2013 song by Armin van Buuren featuring Trevor Guthrie.\n\nThis Is What It Feels Like may also refer to:\n\n This Is What It Feels Like (album), a 2021 studio album by Gracie Abrams\n \"This Is What It Feels Like\", a song by Banks from the 2014 studio album Goddess\n This Is What It Feels Like, a 2019 EP by Clinton Kane\n\nSee also\n This Is What the Truth Feels Like, a 2016 album by Gwen Stefani\n Feels Like (disambiguation)",
"\"What Is This Thing Called Love?\" is a song written by Jimmy Jam and Terry Lewis and recorded by American recording artist Alexander O'Neal. It is the second single from the singer's fourth solo album, All True Man (1991). The song's distinctive backing vocals were performed by Lisa Keith. Following the successful chart performances of the All True Man single \"All True Man\", \"What Is This Thing Called Love?\" was released as the album's second single.\n\nRelease\nAlexander O'Neal's 19th hit single and it reached #53 in the UK Singles Chart. In the United States, the single reached #21 on Billboard's Hot R&B/Hip-Hop Singles & Tracks.\n\nTrack listing\n 12\" Maxi (45 73804) \n\"What Is This Thing Called Love? (Dee Classic 12\" Mix)\" - 8:20\n\"What Is This Thing Called Love? (Dee Classic Radio Mix)\" - 3:37\n\"What Is This Thing Called Love? (LP Edit)\" - 3:58\n\"What Is This Thing Called Love? (Dee Red Zone Mix)\" - 5:41\n\"What Is This Thing Called Love? (Dee Instrumental Mix)\" - 5:58\n\"What Is This Thing Called Love? (Dee Reprise)\" - 2:13\n\n 7\" Single (656731 7) / Cassette Single (656731 4)\n\"What Is This Thing Called Love?\" - 4:08\n\"Crying Overtime\" - 4:55\n\n CD Single (656731 2)\n\"What Is This Thing Called Love? (Album Version)\" - 6:04\n\"The Lovers (Extended Version)\" - 7:02\n\"If You Were Here Tonight\" - 6:08\n\n CD Single (656731 9) \n\"What Is This Thing Called Love? (Dee Classic 12\" Mix)\" - 8:20\n\"What Is This Thing Called Love? (Dee Classic Radio Mix)\" - 3:37\n\"What Is This Thing Called Love? (Dee Red Zone Mix)\" - 5:41\n\"What Is This Thing Called Love? (Dee Reprise)\" - 2:13\n\n Cassette Single (35T 73810) \n\"What Is This Thing Called Love? (Dee Classic Radio Mix)\" - 3:37\n\"What Is This Thing Called Love? (Dee Instrumental Mix)\" - 5:58\n\nPersonnel\nCredits are adapted from the album's liner notes.\n\n Alexander O'Neal - lead vocals \n Jimmy Jam - acoustic piano, keyboards, synthesizer, drum programming, rhythm & vocal arrangements\n Terry Lewis - rhythm & vocal arrangements, backing vocals\n Lee Blaskey - string arrangements\n Susie Allard - strings\n Mynra Rian - strings\n Joanna Shelton - strings\n Carolyn Daws - strings\n Mary Bahr - strings\n Lea Foli - strings\n Julia Persilz - strings\n Hyacinthe Tlucek - strings\n Maricia Peck - strings\n Jeanne Ekhold - strings\n Luara Sewell - strings\n Rudolph Lekhter - strings\n Lisa Keith - backing vocals\n\nCharts\n\nHistory\n\"What Is This Thing Called Love?\" had its bass-line sampled in the 2018 Kanye West and Lil Pump song, \"I Love It\".\n\nReferences\n\nExternal links\n \n\n1991 singles\nAlexander O'Neal songs\nSongs written by Jimmy Jam and Terry Lewis\n1991 songs\nSong recordings produced by Jimmy Jam and Terry Lewis\nTabu Records singles"
]
|
[
"Lowell Thomas",
"Gaffes",
"What did he do",
"Thomas's most amusing on-air gaffe",
"What is this",
"He was reading a story \"cold\" (going on the air without pre-reading his copy, contrary to his usual practice"
]
| C_ad45c3ed30d84f508f070326b4b509bc_0 | WHat did he say | 3 | WHat did Lowell Thomas say during the gaffe? | Lowell Thomas | Thomas's most amusing on-air gaffe occurred during one of his daily broadcasts in the early 1960s. He was reading a story "cold" (going on the air without pre-reading his copy, contrary to his usual practice) which contained the phrase "She suffered a near fatal heart attack". The line came out of Thomas's mouth as "She suffered a near fart ... err fatal heart attack". Realizing instantly what he had said, he tried to continue but eventually collapsed into gales of laughter, which continued into - and beyond - his announcer's chuckling sign-off for the day. Thomas' long-time friend and ghostwriter Prosper Buranelli wrote the nightly newscasts. The day's script was sent by teletype to Thomas' home in Pawling, NY from which he usually did his broadcast. One evening, Buranelli's final story was about an actress going into a Los Angeles hotel with a Great Dane. The dog's tail got caught in the revolving door and she sued the hotel for $10,000. Buranelli added a comment to the story to give Thomas a laugh before going on air, but Thomas read the story as written with Buranelli's comment, "Who ever thought a piece of tail was worth 10 grand?" Another on-air mishap had Thomas reading a story about President Eisenhower's visit to Hershey, Pennsylvania "where he was greeted by the folks who make chocolate bars, with and without nuts." ("Nuts" is a euphemism for "testicles.") As Thomas read the next story, he could hear the announcer breaking up with laughter in the New York City studio, which caused Thomas to break up, as well. Air checks of some of Thomas' gaffes (as well as recreations of his "bloopers") are available to collectors. CANNOTANSWER | She suffered a near fatal heart attack". The line came out of Thomas's mouth as | Refers to the travel journalist. For the eponymous travel journalism awards program, see Lowell Thomas Travel Journalism Awards.
Lowell Jackson Thomas (April 6, 1892 – August 29, 1981) was an American writer, actor, broadcaster, and traveler, best remembered for publicising T. E. Lawrence (Lawrence of Arabia). He was also involved in promoting the Cinerama widescreen system. In 1954, he led a group of New York City-based investors to buy majority control of Hudson Valley Broadcasting, which, in 1957, became Capital Cities Television Corporation.
Early life
Thomas was born in Woodington, Darke County, Ohio, to Harry and Harriet (née Wagoner) Thomas. His father was a doctor, his mother a teacher. In 1900, the family moved to the mining town of Victor, Colorado. Thomas worked there as a gold miner, a cook, and a reporter on the newspaper.
In 1911, Thomas graduated from Victor High School where one of his teachers was Mabel Barbee Lee. and began work for the Chicago Journal, writing for it until 1914. Thomas also was on the faculty of Chicago-Kent College of Law (now part of Illinois Institute of Technology), where he taught oratory from 1912 to 1914. He then went to New Jersey where he studied for a master's at Princeton University (he received the degree in 1916) and again taught oratory at the university.
Career
Thomas was a relentless self-promoter, and he persuaded railroads to give him free passage in exchange for articles extolling rail travel. When he visited Alaska, he hit upon the idea of the travelogue, movies about faraway places. When the United States entered World War I, President Wilson sent him and others to "compile a history of the conflict", but the mission was not academic. The war was not popular in the United States, and Thomas was sent to find material that would encourage the American people to support it. He did not want to merely write about the war, he wanted to film it.
Lawrence of Arabia
Thomas and cameraman Harry Chase first went to the Western Front, but the trenches had little to inspire the American public. They then went to Italy, where he heard of General Allenby's campaign against the Ottoman Empire in Palestine. Thomas traveled to Palestine as an accredited war correspondent with the permission of the British Foreign Office. In Jerusalem, he met T. E. Lawrence, a captain in the British Army stationed in Jerusalem. Lawrence was spending £200,000 a month encouraging the inhabitants of Palestine to rebel against the Turks. Thomas and Chase spent several weeks with him in the desert, although Lawrence had told them that it would be "several days". Lawrence agreed to provide Thomas with material on the condition that Thomas also photograph and interview Arab leaders such as Emir Feisal.
Thomas shot dramatic footage of Lawrence, then returned to America and began giving public lectures in 1919 on the war in Palestine, "supported by moving pictures of veiled women, Arabs in their picturesque robes, camels and dashing Bedouin cavalry." His lectures were very popular and audiences large, and he "took the nation by storm" in the words of one modern biographer. He agreed to take the lecture to Britain, but only "if asked by the King and given Drury Lane or Covent Garden" as a lecture venue. His conditions were met, and he opened a series at Covent Garden on August 14, 1919. "And so followed a series of some hundreds of lecture–film shows, attended by the highest in the land".
At the opening of his six-month London run, there were incense braziers, exotically dressed women dancing before images of the Pyramids, and the band of the Welsh Guards playing accompaniment. Lawrence saw the show several times. He later claimed to dislike it, but it generated valuable publicity for his book. To strengthen the emphasis on Lawrence in the show, Thomas needed more photographs of him than Chase had taken in 1918. Lawrence claimed to be shy of publicity, but he agreed to a series of posed portraits in Arab dress in London.
Thomas genuinely admired Lawrence and continued to defend him against attacks on his reputation. Lawrence's brother Arnold allowed Thomas to contribute to T.E. Lawrence by his Friends (1937), a collection of essays and reminiscences published after Lawrence's death.
Cinerama
Thomas was a magazine editor during the 1920s, but he never lost his fascination with the movies. He narrated Twentieth Century Fox's Movietone newsreels until 1952, when he went into business with Mike Todd and Merian C. Cooper to exploit Cinerama, a film exhibition format using three projectors and an enormous curved screen with seven-channel surround sound. He produced the documentaries This is Cinerama, Seven Wonders of the World, and Search for Paradise in this format in 1956, with a 1957 release date.
Radio commentator and newscaster
Thomas was first heard on radio delivering talks about his travels in 1929 and 1930: for example, he spoke on the NBC Radio Network in late July 1930 about his trip to Cuba. Then, in late September 1930, he took over as the host of the Sunday evening Literary Digest program, replacing the previous host, Floyd Gibbons.
On this program, he told stories of his travels. The show was fifteen-minutes long, and heard on the NBC Network. Thomas soon changed the focus of the program from his own travels to interesting stories about other people, and by early October 1930, he was also including more news stories. It was that point that the program, which was now on six days a week, moved to the CBS Radio network.
After two years, he switched back to the NBC Radio network but returned to CBS in 1947. He was not an employee of either NBC or CBS, contrary to today's practices, but was employed by the broadcast's sponsor Sunoco. He returned to CBS to take advantage of lower capital-gains tax rates, establishing an independent company to produce the broadcast which he sold to CBS. He hosted the first television news broadcast in 1939 and the first regularly scheduled television news broadcast beginning on February 21, 1940 over W2XBS (now WNBC) New York, which was a camera simulcast of his radio broadcast.
In the summer of 1940, Thomas anchored a television broadcast of the 1940 Republican National Convention, the first live telecast of a political convention, which was fed from Philadelphia to W2XBS and on to W2XB. He was not actually in Philadelphia but was anchoring the broadcast from a New York studio and merely identifying speakers who addressed the convention.
In April 1945, Thomas flew in a normally single-person P-51 Mustang over Berlin while it was being attacked by the Soviet Union, reporting live via radio.
In 1953, Thomas was featured in The Ford 50th Anniversary Show that was broadcast simultaneously on the NBC and CBS television networks. The program was viewed by 60 million persons. Thomas presented a tribute to the classic days of radio.
His persistent debt problems were remedied by Thomas' manager/investing partner, Frank Smith who, in 1954, became the President of co-owned Hudson Valley Broadcasting Company, which, in 1957, became Capital Cities Television Corporation.
The television news simulcast was a short-lived venture for Thomas, as he favored radio. It was over radio that he presented and commented upon the news for four decades until his retirement in 1976, the longest radio career of anyone in his day, since surpassed by Paul Harvey. His signature sign-on was "Good evening, everybody" and his sign-off was "So long, until tomorrow," phrases that he used as titles for his two volumes of memoirs.
Personal life
Thomas' wife Frances often traveled with him. She died in 1975, and he married Marianna Munn in 1977. They embarked on a honeymoon trip that took him to many of his favorite old destinations. Thomas died at his home in Pawling, New York in 1981. He is buried in Christ Church Cemetery. Marianna died in Dayton, Ohio on January 28, 2010 after suffering renal failure.
Legacy and honors
The communications building at Marist College in Poughkeepsie, New York is named in honor of Thomas, after he received an honorary degree from the college in 1981. The Lowell Thomas Archives are housed as part of the college library. In 1945, Thomas received the Alfred I. duPont Award. In 1971, Thomas received the Golden Plate Award of the American Academy of Achievement. In 1976, President Gerald Ford awarded him the Presidential Medal of Freedom. He has two stars on the Hollywood Walk of Fame and was inducted into the National Radio Hall of Fame in 1989. The Thomas Mountains in Antarctica are named for him.
Published works
Among Thomas's books are:
With Lawrence in Arabia, 1924
The First World Flight, 1925
Beyond Khyber Pass, 1925
Count Luckner, The Sea Devil, 1927
European Skyways, 1927
The Boy's Life of Colonel Lawrence, 1927
Adventures in Afghanistan for Boys, 1928
Raiders of the Deep, 1928
The Sea Devil's Fo'c'sle, 1929
Woodfill of the Regulars, 1929
The Hero of Vincennes: the Story of George Rogers Clark, 1929
The Wreck of the Dumaru, 1930
Lauterbach of the China Sea, 1930
India--Land of the Black Pagoda, 1930
Rolling Stone: The Life and Adventures of Arthur Radclyffe Dugmore., 1931 See Arthur Radclyffe Dugmore
Tall Stories, 1931
Kabluk of the Eskimo, 1932
This Side of Hell, 1932
Old Gimlet Eye: The Adventures of General Smedley Butler, 1933
Born to Raise Hell, 1933
The Untold Story of Exploration, 1935
Fan Mail, 1935
A Trip to New York With Bobby and Betty, 1936
Men of Danger, 1936
Kipling Stories and a Life of Kipling, 1936
Seeing Canada With Lowell Thomas, 1936
Seeing India With Lowell Thomas, 1936
Seeing Japan With Lowell Thomas, 1937
Seeing Mexico With Lowell Thomas, 1937
Adventures Among the Immortals, 1937
Hungry Waters, 1937
Wings Over Asia, 1937
Magic Dials, 1939
In New Brunswick We'll Find It, 1939
Soft Ball! So What?, 1940
How To Keep Mentally Fit, 1940
Stand Fast for Freedom, 1940
Pageant of Adventure, 1940
Pageant of Life, 1941
Pageant of Romance, 1943
These Men Shall Never Die, 1943
Out of this World: Across the Himalayas to Tibet (1951)
Back to Mandalay, 1951
Great True Adventures, 1955
The Story of the New York Thruway, 1955
Seven Wonders of the World, 1956
History As You Heard It 1957
The Story of the St. Lawrence Seaway, 1957
The Vital Spark, 1959
Sir Hubert Wilkins, A Biography, 1961
More Great True Adventures, 1963
Book of the High Mountains, 1964 ()
Famous First Flights That Changed History, 1968 ()
Burma Jack, 1971 ()
Doolittle: A Biography, 1976 ()
Good Evening Everybody: From Cripple Creek to Samarkand, 1976 ()
So Long Until Tomorrow, 1977 ()
Further reading
References
Notes
Sources
Bowen, Norman (ed) (1968) The Stranger Everyone Knows Doubleday
Hamilton, John Maxwell (2011) Journalism's Roving Eye: A History of American Foreign Reporting LSU Press pg 248
External links
With Lawrence in Arabia at Internet Archive
Lowell Thomas interview at American Heritage
"Creating History: Lowell Thomas and Lawrence of Arabia" online history exhibit at Clio Visualizing History.
An Evening with Lowell Thomas (August 13, 1981), on the YouTube-channel of Pikes Peak Library District.
1892 births
1981 deaths
American broadcast news analysts
20th-century American businesspeople
American male journalists
American radio journalists
American travel writers
Peabody Award winners
People from Darke County, Ohio
Presidential Medal of Freedom recipients
University of Denver alumni
Princeton University alumni
Valparaiso University alumni
T. E. Lawrence
Royal Canadian Geographical Society fellows | false | [
"Say What may refer to:\n\nBooks\nSay What? - Talk like a local without putting your foot in it, by Lonely Planet, 2004 \n\nSay What? by Margaret Peterson Haddix and James Bernardin 2005\n\nFilm and TV\n Say What?, an MTV television series in the 1990s\n\nGames\n Say What?! (video game) Sony music game\n\nMusic\n Say What! (Stevie Ray Vaughan song), a track by Stevie Ray Vaughan from the album Soul to Soul, 1985\n Say What! (Trouble Funk album), 1986 live album\n \"Say What\" (LL Cool J song), a song by LL Cool J\n \"Say What\", a song by Kovas (musician) \n\"Say What\", single by Jesse Winchester, 1981",
"\"Boys! (What Did the Detective Say?)\" is the debut single by Australian rock band the Sports. The song was written by band members Stephen Cummings and Ed Bates and produced by Joe Camilleri. Released in March 1978 as the lead single from the band's debut studio album Reckless (1978), the song peaked at number 55 on the Australian Kent Music Report.\n\nJohn Magowan of Woroni described the song as \"adolescent bravado\".\n\nTrack listing\n Australian 7\" single (K 7089)\nSide A \"Boys! (What Did the Detective Say?)\" - 2:25\nSide B \"Modern Don Juan\"\n\nCharts\n\nReferences\n\n1978 songs\n1978 debut singles\nThe Sports songs\nSong recordings produced by Joe Camilleri\nMushroom Records singles\nSongs written by Stephen Cummings"
]
|
[
"Lowell Thomas",
"Gaffes",
"What did he do",
"Thomas's most amusing on-air gaffe",
"What is this",
"He was reading a story \"cold\" (going on the air without pre-reading his copy, contrary to his usual practice",
"WHat did he say",
"She suffered a near fatal heart attack\". The line came out of Thomas's mouth as"
]
| C_ad45c3ed30d84f508f070326b4b509bc_0 | What actually came out of his mouth | 4 | What actually came out of Lowell Thomas mouth during the gaffe? | Lowell Thomas | Thomas's most amusing on-air gaffe occurred during one of his daily broadcasts in the early 1960s. He was reading a story "cold" (going on the air without pre-reading his copy, contrary to his usual practice) which contained the phrase "She suffered a near fatal heart attack". The line came out of Thomas's mouth as "She suffered a near fart ... err fatal heart attack". Realizing instantly what he had said, he tried to continue but eventually collapsed into gales of laughter, which continued into - and beyond - his announcer's chuckling sign-off for the day. Thomas' long-time friend and ghostwriter Prosper Buranelli wrote the nightly newscasts. The day's script was sent by teletype to Thomas' home in Pawling, NY from which he usually did his broadcast. One evening, Buranelli's final story was about an actress going into a Los Angeles hotel with a Great Dane. The dog's tail got caught in the revolving door and she sued the hotel for $10,000. Buranelli added a comment to the story to give Thomas a laugh before going on air, but Thomas read the story as written with Buranelli's comment, "Who ever thought a piece of tail was worth 10 grand?" Another on-air mishap had Thomas reading a story about President Eisenhower's visit to Hershey, Pennsylvania "where he was greeted by the folks who make chocolate bars, with and without nuts." ("Nuts" is a euphemism for "testicles.") As Thomas read the next story, he could hear the announcer breaking up with laughter in the New York City studio, which caused Thomas to break up, as well. Air checks of some of Thomas' gaffes (as well as recreations of his "bloopers") are available to collectors. CANNOTANSWER | line came out of Thomas's mouth as "She suffered a near fart ... err fatal heart attack". | Refers to the travel journalist. For the eponymous travel journalism awards program, see Lowell Thomas Travel Journalism Awards.
Lowell Jackson Thomas (April 6, 1892 – August 29, 1981) was an American writer, actor, broadcaster, and traveler, best remembered for publicising T. E. Lawrence (Lawrence of Arabia). He was also involved in promoting the Cinerama widescreen system. In 1954, he led a group of New York City-based investors to buy majority control of Hudson Valley Broadcasting, which, in 1957, became Capital Cities Television Corporation.
Early life
Thomas was born in Woodington, Darke County, Ohio, to Harry and Harriet (née Wagoner) Thomas. His father was a doctor, his mother a teacher. In 1900, the family moved to the mining town of Victor, Colorado. Thomas worked there as a gold miner, a cook, and a reporter on the newspaper.
In 1911, Thomas graduated from Victor High School where one of his teachers was Mabel Barbee Lee. and began work for the Chicago Journal, writing for it until 1914. Thomas also was on the faculty of Chicago-Kent College of Law (now part of Illinois Institute of Technology), where he taught oratory from 1912 to 1914. He then went to New Jersey where he studied for a master's at Princeton University (he received the degree in 1916) and again taught oratory at the university.
Career
Thomas was a relentless self-promoter, and he persuaded railroads to give him free passage in exchange for articles extolling rail travel. When he visited Alaska, he hit upon the idea of the travelogue, movies about faraway places. When the United States entered World War I, President Wilson sent him and others to "compile a history of the conflict", but the mission was not academic. The war was not popular in the United States, and Thomas was sent to find material that would encourage the American people to support it. He did not want to merely write about the war, he wanted to film it.
Lawrence of Arabia
Thomas and cameraman Harry Chase first went to the Western Front, but the trenches had little to inspire the American public. They then went to Italy, where he heard of General Allenby's campaign against the Ottoman Empire in Palestine. Thomas traveled to Palestine as an accredited war correspondent with the permission of the British Foreign Office. In Jerusalem, he met T. E. Lawrence, a captain in the British Army stationed in Jerusalem. Lawrence was spending £200,000 a month encouraging the inhabitants of Palestine to rebel against the Turks. Thomas and Chase spent several weeks with him in the desert, although Lawrence had told them that it would be "several days". Lawrence agreed to provide Thomas with material on the condition that Thomas also photograph and interview Arab leaders such as Emir Feisal.
Thomas shot dramatic footage of Lawrence, then returned to America and began giving public lectures in 1919 on the war in Palestine, "supported by moving pictures of veiled women, Arabs in their picturesque robes, camels and dashing Bedouin cavalry." His lectures were very popular and audiences large, and he "took the nation by storm" in the words of one modern biographer. He agreed to take the lecture to Britain, but only "if asked by the King and given Drury Lane or Covent Garden" as a lecture venue. His conditions were met, and he opened a series at Covent Garden on August 14, 1919. "And so followed a series of some hundreds of lecture–film shows, attended by the highest in the land".
At the opening of his six-month London run, there were incense braziers, exotically dressed women dancing before images of the Pyramids, and the band of the Welsh Guards playing accompaniment. Lawrence saw the show several times. He later claimed to dislike it, but it generated valuable publicity for his book. To strengthen the emphasis on Lawrence in the show, Thomas needed more photographs of him than Chase had taken in 1918. Lawrence claimed to be shy of publicity, but he agreed to a series of posed portraits in Arab dress in London.
Thomas genuinely admired Lawrence and continued to defend him against attacks on his reputation. Lawrence's brother Arnold allowed Thomas to contribute to T.E. Lawrence by his Friends (1937), a collection of essays and reminiscences published after Lawrence's death.
Cinerama
Thomas was a magazine editor during the 1920s, but he never lost his fascination with the movies. He narrated Twentieth Century Fox's Movietone newsreels until 1952, when he went into business with Mike Todd and Merian C. Cooper to exploit Cinerama, a film exhibition format using three projectors and an enormous curved screen with seven-channel surround sound. He produced the documentaries This is Cinerama, Seven Wonders of the World, and Search for Paradise in this format in 1956, with a 1957 release date.
Radio commentator and newscaster
Thomas was first heard on radio delivering talks about his travels in 1929 and 1930: for example, he spoke on the NBC Radio Network in late July 1930 about his trip to Cuba. Then, in late September 1930, he took over as the host of the Sunday evening Literary Digest program, replacing the previous host, Floyd Gibbons.
On this program, he told stories of his travels. The show was fifteen-minutes long, and heard on the NBC Network. Thomas soon changed the focus of the program from his own travels to interesting stories about other people, and by early October 1930, he was also including more news stories. It was that point that the program, which was now on six days a week, moved to the CBS Radio network.
After two years, he switched back to the NBC Radio network but returned to CBS in 1947. He was not an employee of either NBC or CBS, contrary to today's practices, but was employed by the broadcast's sponsor Sunoco. He returned to CBS to take advantage of lower capital-gains tax rates, establishing an independent company to produce the broadcast which he sold to CBS. He hosted the first television news broadcast in 1939 and the first regularly scheduled television news broadcast beginning on February 21, 1940 over W2XBS (now WNBC) New York, which was a camera simulcast of his radio broadcast.
In the summer of 1940, Thomas anchored a television broadcast of the 1940 Republican National Convention, the first live telecast of a political convention, which was fed from Philadelphia to W2XBS and on to W2XB. He was not actually in Philadelphia but was anchoring the broadcast from a New York studio and merely identifying speakers who addressed the convention.
In April 1945, Thomas flew in a normally single-person P-51 Mustang over Berlin while it was being attacked by the Soviet Union, reporting live via radio.
In 1953, Thomas was featured in The Ford 50th Anniversary Show that was broadcast simultaneously on the NBC and CBS television networks. The program was viewed by 60 million persons. Thomas presented a tribute to the classic days of radio.
His persistent debt problems were remedied by Thomas' manager/investing partner, Frank Smith who, in 1954, became the President of co-owned Hudson Valley Broadcasting Company, which, in 1957, became Capital Cities Television Corporation.
The television news simulcast was a short-lived venture for Thomas, as he favored radio. It was over radio that he presented and commented upon the news for four decades until his retirement in 1976, the longest radio career of anyone in his day, since surpassed by Paul Harvey. His signature sign-on was "Good evening, everybody" and his sign-off was "So long, until tomorrow," phrases that he used as titles for his two volumes of memoirs.
Personal life
Thomas' wife Frances often traveled with him. She died in 1975, and he married Marianna Munn in 1977. They embarked on a honeymoon trip that took him to many of his favorite old destinations. Thomas died at his home in Pawling, New York in 1981. He is buried in Christ Church Cemetery. Marianna died in Dayton, Ohio on January 28, 2010 after suffering renal failure.
Legacy and honors
The communications building at Marist College in Poughkeepsie, New York is named in honor of Thomas, after he received an honorary degree from the college in 1981. The Lowell Thomas Archives are housed as part of the college library. In 1945, Thomas received the Alfred I. duPont Award. In 1971, Thomas received the Golden Plate Award of the American Academy of Achievement. In 1976, President Gerald Ford awarded him the Presidential Medal of Freedom. He has two stars on the Hollywood Walk of Fame and was inducted into the National Radio Hall of Fame in 1989. The Thomas Mountains in Antarctica are named for him.
Published works
Among Thomas's books are:
With Lawrence in Arabia, 1924
The First World Flight, 1925
Beyond Khyber Pass, 1925
Count Luckner, The Sea Devil, 1927
European Skyways, 1927
The Boy's Life of Colonel Lawrence, 1927
Adventures in Afghanistan for Boys, 1928
Raiders of the Deep, 1928
The Sea Devil's Fo'c'sle, 1929
Woodfill of the Regulars, 1929
The Hero of Vincennes: the Story of George Rogers Clark, 1929
The Wreck of the Dumaru, 1930
Lauterbach of the China Sea, 1930
India--Land of the Black Pagoda, 1930
Rolling Stone: The Life and Adventures of Arthur Radclyffe Dugmore., 1931 See Arthur Radclyffe Dugmore
Tall Stories, 1931
Kabluk of the Eskimo, 1932
This Side of Hell, 1932
Old Gimlet Eye: The Adventures of General Smedley Butler, 1933
Born to Raise Hell, 1933
The Untold Story of Exploration, 1935
Fan Mail, 1935
A Trip to New York With Bobby and Betty, 1936
Men of Danger, 1936
Kipling Stories and a Life of Kipling, 1936
Seeing Canada With Lowell Thomas, 1936
Seeing India With Lowell Thomas, 1936
Seeing Japan With Lowell Thomas, 1937
Seeing Mexico With Lowell Thomas, 1937
Adventures Among the Immortals, 1937
Hungry Waters, 1937
Wings Over Asia, 1937
Magic Dials, 1939
In New Brunswick We'll Find It, 1939
Soft Ball! So What?, 1940
How To Keep Mentally Fit, 1940
Stand Fast for Freedom, 1940
Pageant of Adventure, 1940
Pageant of Life, 1941
Pageant of Romance, 1943
These Men Shall Never Die, 1943
Out of this World: Across the Himalayas to Tibet (1951)
Back to Mandalay, 1951
Great True Adventures, 1955
The Story of the New York Thruway, 1955
Seven Wonders of the World, 1956
History As You Heard It 1957
The Story of the St. Lawrence Seaway, 1957
The Vital Spark, 1959
Sir Hubert Wilkins, A Biography, 1961
More Great True Adventures, 1963
Book of the High Mountains, 1964 ()
Famous First Flights That Changed History, 1968 ()
Burma Jack, 1971 ()
Doolittle: A Biography, 1976 ()
Good Evening Everybody: From Cripple Creek to Samarkand, 1976 ()
So Long Until Tomorrow, 1977 ()
Further reading
References
Notes
Sources
Bowen, Norman (ed) (1968) The Stranger Everyone Knows Doubleday
Hamilton, John Maxwell (2011) Journalism's Roving Eye: A History of American Foreign Reporting LSU Press pg 248
External links
With Lawrence in Arabia at Internet Archive
Lowell Thomas interview at American Heritage
"Creating History: Lowell Thomas and Lawrence of Arabia" online history exhibit at Clio Visualizing History.
An Evening with Lowell Thomas (August 13, 1981), on the YouTube-channel of Pikes Peak Library District.
1892 births
1981 deaths
American broadcast news analysts
20th-century American businesspeople
American male journalists
American radio journalists
American travel writers
Peabody Award winners
People from Darke County, Ohio
Presidential Medal of Freedom recipients
University of Denver alumni
Princeton University alumni
Valparaiso University alumni
T. E. Lawrence
Royal Canadian Geographical Society fellows | false | [
"Always Stay Sweet is a compilation album by His Name Is Alive, released by 4AD on February 23, 1999.\n\nHistory\nAlways Stay Sweet is one of the rare 4AD albums that was released in the USA only, and not the label's native UK. It is a compilation of tracks from His Name Is Alive's first five records for the label, all of which—except for Stars on ESP—were out of print in America at the time. This is presumably part of the reason why 4AD chose the album for American release only—it was a way for American audiences to acquire some of the band's early work in lieu of re-issuing the entire back catalog.\n\nThe album relies heavily on the early albums when HNIA were often described as a gothic folk band inspired by 4AD supergroup This Mortal Coil. Nearly all of the songs are from 1990's Livonia, 1991's Home Is in Your Head, and 1993's Mouth by Mouth. Only two songs from Stars on ESP are included, and nearly all of the songs from The Dirt Eaters EP are featured (although two of the tracks from this EP are alternate versions that appeared on the LPs). No tracks from 1998's Ft. Lake are included at all, although the front cover was based on the inside sleeve of that album. The song “Underwater” was previously unreleased, having been recorded during the sessions for Mouth by Mouth. “The Dirt Eaters” is the version that appeared on the USA release of Mouth by Mouth, without the Jack Nicholson sample.\n\nA version of the CD released by Mexican label Opción Sónica included two more songs from Stars on ESP and a rare track from the 1994 4AD compilation All Virgos Are Mad.\n\nAs this CD came out after 4AD's USA distribution deal with Warner Bros. Records had ended, 4AD was back in the position of having to find distribution for each USA release. While the label has mostly used the Alternative Distribution Alliance, which distributes many indie rock labels in America, Always Stay Sweet was actually distributed by major label Polygram Records.\n\nTrack listings\n\nNotes\n4AD release\n Tracks 3, 4, 5, and 7 taken from Livonia (CAD 0008, June 1990)\n Tracks 1, 2, 6, 8, 9, 12, and 16 taken from Home Is in Your Head (CAD 1013, September 1991)\n Tracks 14 and 21 taken from The Dirt Eaters EP (BAD 2005, April 1992)\n Tracks 10, 11, 18, 19, and 20 taken from Mouth by Mouth (CAD 3006, April 1993)\n Tracks 15 and 17 taken from Stars on ESP (CAD 6010, June 1996)\n Track 13 is previously unreleased\n\nOpción Sónica release\n “Bad Luck Girl” and “Universal Frequencies” taken from Stars on ESP\n “Library Girl” taken from the 4AD compilation All Virgos Are Mad (AVAM, September 1994)\n\nReferences\n\nHis Name Is Alive albums\n1999 compilation albums\n4AD compilation albums",
"Chubby bunny is an informal recreational and hazing game that involves the placement of an increasing number of marshmallows or similar items such as cotton balls into one's own mouth and stating a phrase that is intended to be difficult to say clearly with a filled mouth. The game is often played where marshmallows are readily available, such as around a campfire. Variations include similar-sounding phrases such as pudgy bunny, fluffy bunny, fuzzy bunny, chubby monkey, and chubby buddy.\n\nAlthough the origins of the game are unknown, a 1959 Peanuts comic strip shows Snoopy's mouth being filled with an increasing number of marshmallows while Charlie Brown keeps count.\nThe once-popular TV series What's with Andy? might have contributed to its popularity in the 21st century after airing an episode in which protagonist Andy Larkin and his friend Danny do the challenge.\n\nRules \nIn the game, each participant usually places a marshmallow into their mouth and says 'chubby bunny'. If they are able to state the whole phrase, usually in a comprehensible manner that the other participants wholly concur to, they pass that round. Each successful player then adds an additional marshmallow to the ones already in his or her mouth and repeats the phrase. A player who fails to complete the phrase is eliminated from the game. The process continues until only one player remains. After the penultimate player loses the game, the winning player might have to place one more marshmallow into his or her mouth and may have to state the phrase once more. The winner of the game is the player who fits the most marshmallows into his or her mouth. Some variants of the game require the winner to actually ingest the marshmallows.\n\nCases of deaths \nAt least two people have died of suffocation by choking on marshmallows.\n\nOn June 4, 1999, 12-year-old Catherine \"Casey\" Fish died after choking on four marshmallows while playing chubby bunny. The contest was scheduled for the annual Care Fair held at Hoffman Elementary School in Chicago's North Shore area. It was to be supervised, but Casey and some of her friends began playing while the teacher was momentarily away. She collapsed and was taken to Glenbrook Hospital, where she died a few hours later. Fish's parents subsequently sued the school district, with the case eventually being settled out of court. They also appeared on The Oprah Winfrey Show to warn about the dangers of chubby bunny.\n\nOn September 12, 2006, Janet Rudd, 32, from London, Ontario, Canada died in a chubby bunny competition at the Western Fair. St John Ambulance volunteers initially came to Rudd's aid prior to the arrival of paramedics from Thames EMS. The paramedics arrived with equipment including a defibrillator and suction devices, but were unable to remove the blockage in the unconscious woman's throat.\n\nSee also\n Chipmunking\nHamster, able to hold food in its cheeks\n\nReferences\n\nGames of physical skill\nMarshmallows\nCompetitive eating"
]
|
[
"Lowell Thomas",
"Gaffes",
"What did he do",
"Thomas's most amusing on-air gaffe",
"What is this",
"He was reading a story \"cold\" (going on the air without pre-reading his copy, contrary to his usual practice",
"WHat did he say",
"She suffered a near fatal heart attack\". The line came out of Thomas's mouth as",
"What actually came out of his mouth",
"line came out of Thomas's mouth as \"She suffered a near fart ... err fatal heart attack\"."
]
| C_ad45c3ed30d84f508f070326b4b509bc_0 | What did he do | 5 | What did Lowell Thomas do after the gaffe? | Lowell Thomas | Thomas's most amusing on-air gaffe occurred during one of his daily broadcasts in the early 1960s. He was reading a story "cold" (going on the air without pre-reading his copy, contrary to his usual practice) which contained the phrase "She suffered a near fatal heart attack". The line came out of Thomas's mouth as "She suffered a near fart ... err fatal heart attack". Realizing instantly what he had said, he tried to continue but eventually collapsed into gales of laughter, which continued into - and beyond - his announcer's chuckling sign-off for the day. Thomas' long-time friend and ghostwriter Prosper Buranelli wrote the nightly newscasts. The day's script was sent by teletype to Thomas' home in Pawling, NY from which he usually did his broadcast. One evening, Buranelli's final story was about an actress going into a Los Angeles hotel with a Great Dane. The dog's tail got caught in the revolving door and she sued the hotel for $10,000. Buranelli added a comment to the story to give Thomas a laugh before going on air, but Thomas read the story as written with Buranelli's comment, "Who ever thought a piece of tail was worth 10 grand?" Another on-air mishap had Thomas reading a story about President Eisenhower's visit to Hershey, Pennsylvania "where he was greeted by the folks who make chocolate bars, with and without nuts." ("Nuts" is a euphemism for "testicles.") As Thomas read the next story, he could hear the announcer breaking up with laughter in the New York City studio, which caused Thomas to break up, as well. Air checks of some of Thomas' gaffes (as well as recreations of his "bloopers") are available to collectors. CANNOTANSWER | Thomas's most amusing on-air gaffe | Refers to the travel journalist. For the eponymous travel journalism awards program, see Lowell Thomas Travel Journalism Awards.
Lowell Jackson Thomas (April 6, 1892 – August 29, 1981) was an American writer, actor, broadcaster, and traveler, best remembered for publicising T. E. Lawrence (Lawrence of Arabia). He was also involved in promoting the Cinerama widescreen system. In 1954, he led a group of New York City-based investors to buy majority control of Hudson Valley Broadcasting, which, in 1957, became Capital Cities Television Corporation.
Early life
Thomas was born in Woodington, Darke County, Ohio, to Harry and Harriet (née Wagoner) Thomas. His father was a doctor, his mother a teacher. In 1900, the family moved to the mining town of Victor, Colorado. Thomas worked there as a gold miner, a cook, and a reporter on the newspaper.
In 1911, Thomas graduated from Victor High School where one of his teachers was Mabel Barbee Lee. and began work for the Chicago Journal, writing for it until 1914. Thomas also was on the faculty of Chicago-Kent College of Law (now part of Illinois Institute of Technology), where he taught oratory from 1912 to 1914. He then went to New Jersey where he studied for a master's at Princeton University (he received the degree in 1916) and again taught oratory at the university.
Career
Thomas was a relentless self-promoter, and he persuaded railroads to give him free passage in exchange for articles extolling rail travel. When he visited Alaska, he hit upon the idea of the travelogue, movies about faraway places. When the United States entered World War I, President Wilson sent him and others to "compile a history of the conflict", but the mission was not academic. The war was not popular in the United States, and Thomas was sent to find material that would encourage the American people to support it. He did not want to merely write about the war, he wanted to film it.
Lawrence of Arabia
Thomas and cameraman Harry Chase first went to the Western Front, but the trenches had little to inspire the American public. They then went to Italy, where he heard of General Allenby's campaign against the Ottoman Empire in Palestine. Thomas traveled to Palestine as an accredited war correspondent with the permission of the British Foreign Office. In Jerusalem, he met T. E. Lawrence, a captain in the British Army stationed in Jerusalem. Lawrence was spending £200,000 a month encouraging the inhabitants of Palestine to rebel against the Turks. Thomas and Chase spent several weeks with him in the desert, although Lawrence had told them that it would be "several days". Lawrence agreed to provide Thomas with material on the condition that Thomas also photograph and interview Arab leaders such as Emir Feisal.
Thomas shot dramatic footage of Lawrence, then returned to America and began giving public lectures in 1919 on the war in Palestine, "supported by moving pictures of veiled women, Arabs in their picturesque robes, camels and dashing Bedouin cavalry." His lectures were very popular and audiences large, and he "took the nation by storm" in the words of one modern biographer. He agreed to take the lecture to Britain, but only "if asked by the King and given Drury Lane or Covent Garden" as a lecture venue. His conditions were met, and he opened a series at Covent Garden on August 14, 1919. "And so followed a series of some hundreds of lecture–film shows, attended by the highest in the land".
At the opening of his six-month London run, there were incense braziers, exotically dressed women dancing before images of the Pyramids, and the band of the Welsh Guards playing accompaniment. Lawrence saw the show several times. He later claimed to dislike it, but it generated valuable publicity for his book. To strengthen the emphasis on Lawrence in the show, Thomas needed more photographs of him than Chase had taken in 1918. Lawrence claimed to be shy of publicity, but he agreed to a series of posed portraits in Arab dress in London.
Thomas genuinely admired Lawrence and continued to defend him against attacks on his reputation. Lawrence's brother Arnold allowed Thomas to contribute to T.E. Lawrence by his Friends (1937), a collection of essays and reminiscences published after Lawrence's death.
Cinerama
Thomas was a magazine editor during the 1920s, but he never lost his fascination with the movies. He narrated Twentieth Century Fox's Movietone newsreels until 1952, when he went into business with Mike Todd and Merian C. Cooper to exploit Cinerama, a film exhibition format using three projectors and an enormous curved screen with seven-channel surround sound. He produced the documentaries This is Cinerama, Seven Wonders of the World, and Search for Paradise in this format in 1956, with a 1957 release date.
Radio commentator and newscaster
Thomas was first heard on radio delivering talks about his travels in 1929 and 1930: for example, he spoke on the NBC Radio Network in late July 1930 about his trip to Cuba. Then, in late September 1930, he took over as the host of the Sunday evening Literary Digest program, replacing the previous host, Floyd Gibbons.
On this program, he told stories of his travels. The show was fifteen-minutes long, and heard on the NBC Network. Thomas soon changed the focus of the program from his own travels to interesting stories about other people, and by early October 1930, he was also including more news stories. It was that point that the program, which was now on six days a week, moved to the CBS Radio network.
After two years, he switched back to the NBC Radio network but returned to CBS in 1947. He was not an employee of either NBC or CBS, contrary to today's practices, but was employed by the broadcast's sponsor Sunoco. He returned to CBS to take advantage of lower capital-gains tax rates, establishing an independent company to produce the broadcast which he sold to CBS. He hosted the first television news broadcast in 1939 and the first regularly scheduled television news broadcast beginning on February 21, 1940 over W2XBS (now WNBC) New York, which was a camera simulcast of his radio broadcast.
In the summer of 1940, Thomas anchored a television broadcast of the 1940 Republican National Convention, the first live telecast of a political convention, which was fed from Philadelphia to W2XBS and on to W2XB. He was not actually in Philadelphia but was anchoring the broadcast from a New York studio and merely identifying speakers who addressed the convention.
In April 1945, Thomas flew in a normally single-person P-51 Mustang over Berlin while it was being attacked by the Soviet Union, reporting live via radio.
In 1953, Thomas was featured in The Ford 50th Anniversary Show that was broadcast simultaneously on the NBC and CBS television networks. The program was viewed by 60 million persons. Thomas presented a tribute to the classic days of radio.
His persistent debt problems were remedied by Thomas' manager/investing partner, Frank Smith who, in 1954, became the President of co-owned Hudson Valley Broadcasting Company, which, in 1957, became Capital Cities Television Corporation.
The television news simulcast was a short-lived venture for Thomas, as he favored radio. It was over radio that he presented and commented upon the news for four decades until his retirement in 1976, the longest radio career of anyone in his day, since surpassed by Paul Harvey. His signature sign-on was "Good evening, everybody" and his sign-off was "So long, until tomorrow," phrases that he used as titles for his two volumes of memoirs.
Personal life
Thomas' wife Frances often traveled with him. She died in 1975, and he married Marianna Munn in 1977. They embarked on a honeymoon trip that took him to many of his favorite old destinations. Thomas died at his home in Pawling, New York in 1981. He is buried in Christ Church Cemetery. Marianna died in Dayton, Ohio on January 28, 2010 after suffering renal failure.
Legacy and honors
The communications building at Marist College in Poughkeepsie, New York is named in honor of Thomas, after he received an honorary degree from the college in 1981. The Lowell Thomas Archives are housed as part of the college library. In 1945, Thomas received the Alfred I. duPont Award. In 1971, Thomas received the Golden Plate Award of the American Academy of Achievement. In 1976, President Gerald Ford awarded him the Presidential Medal of Freedom. He has two stars on the Hollywood Walk of Fame and was inducted into the National Radio Hall of Fame in 1989. The Thomas Mountains in Antarctica are named for him.
Published works
Among Thomas's books are:
With Lawrence in Arabia, 1924
The First World Flight, 1925
Beyond Khyber Pass, 1925
Count Luckner, The Sea Devil, 1927
European Skyways, 1927
The Boy's Life of Colonel Lawrence, 1927
Adventures in Afghanistan for Boys, 1928
Raiders of the Deep, 1928
The Sea Devil's Fo'c'sle, 1929
Woodfill of the Regulars, 1929
The Hero of Vincennes: the Story of George Rogers Clark, 1929
The Wreck of the Dumaru, 1930
Lauterbach of the China Sea, 1930
India--Land of the Black Pagoda, 1930
Rolling Stone: The Life and Adventures of Arthur Radclyffe Dugmore., 1931 See Arthur Radclyffe Dugmore
Tall Stories, 1931
Kabluk of the Eskimo, 1932
This Side of Hell, 1932
Old Gimlet Eye: The Adventures of General Smedley Butler, 1933
Born to Raise Hell, 1933
The Untold Story of Exploration, 1935
Fan Mail, 1935
A Trip to New York With Bobby and Betty, 1936
Men of Danger, 1936
Kipling Stories and a Life of Kipling, 1936
Seeing Canada With Lowell Thomas, 1936
Seeing India With Lowell Thomas, 1936
Seeing Japan With Lowell Thomas, 1937
Seeing Mexico With Lowell Thomas, 1937
Adventures Among the Immortals, 1937
Hungry Waters, 1937
Wings Over Asia, 1937
Magic Dials, 1939
In New Brunswick We'll Find It, 1939
Soft Ball! So What?, 1940
How To Keep Mentally Fit, 1940
Stand Fast for Freedom, 1940
Pageant of Adventure, 1940
Pageant of Life, 1941
Pageant of Romance, 1943
These Men Shall Never Die, 1943
Out of this World: Across the Himalayas to Tibet (1951)
Back to Mandalay, 1951
Great True Adventures, 1955
The Story of the New York Thruway, 1955
Seven Wonders of the World, 1956
History As You Heard It 1957
The Story of the St. Lawrence Seaway, 1957
The Vital Spark, 1959
Sir Hubert Wilkins, A Biography, 1961
More Great True Adventures, 1963
Book of the High Mountains, 1964 ()
Famous First Flights That Changed History, 1968 ()
Burma Jack, 1971 ()
Doolittle: A Biography, 1976 ()
Good Evening Everybody: From Cripple Creek to Samarkand, 1976 ()
So Long Until Tomorrow, 1977 ()
Further reading
References
Notes
Sources
Bowen, Norman (ed) (1968) The Stranger Everyone Knows Doubleday
Hamilton, John Maxwell (2011) Journalism's Roving Eye: A History of American Foreign Reporting LSU Press pg 248
External links
With Lawrence in Arabia at Internet Archive
Lowell Thomas interview at American Heritage
"Creating History: Lowell Thomas and Lawrence of Arabia" online history exhibit at Clio Visualizing History.
An Evening with Lowell Thomas (August 13, 1981), on the YouTube-channel of Pikes Peak Library District.
1892 births
1981 deaths
American broadcast news analysts
20th-century American businesspeople
American male journalists
American radio journalists
American travel writers
Peabody Award winners
People from Darke County, Ohio
Presidential Medal of Freedom recipients
University of Denver alumni
Princeton University alumni
Valparaiso University alumni
T. E. Lawrence
Royal Canadian Geographical Society fellows | false | [
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)",
"\"What Would Steve Do?\" is the second single released by Mumm-Ra on Columbia Records, which was released on February 19, 2007. It is a re-recorded version of the self-release they did in April 2006. It reached #40 in the UK Singles Chart, making it their highest charting single.\n\nTrack listings\nAll songs written by Mumm-Ra.\n\nCD\n\"What Would Steve Do?\"\n\"Cute As\"\n\"Without You\"\n\n7\"\n\"What Would Steve Do?\"\n\"What Would Steve Do? (Floorboard Mix)\"\n\nGatefold 7\"\n\"What Would Steve Do?\"\n\"Cute As\"\n\nReferences\n\n2007 singles\nMumm-Ra (band) songs\n2006 songs\nColumbia Records singles"
]
|
[
"Lowell Thomas",
"Gaffes",
"What did he do",
"Thomas's most amusing on-air gaffe",
"What is this",
"He was reading a story \"cold\" (going on the air without pre-reading his copy, contrary to his usual practice",
"WHat did he say",
"She suffered a near fatal heart attack\". The line came out of Thomas's mouth as",
"What actually came out of his mouth",
"line came out of Thomas's mouth as \"She suffered a near fart ... err fatal heart attack\".",
"What did he do",
"Realizing instantly what he had said, he tried to continue"
]
| C_ad45c3ed30d84f508f070326b4b509bc_0 | What happened | 6 | What happened when Lowell Thomas continued after the gaffe? | Lowell Thomas | Thomas's most amusing on-air gaffe occurred during one of his daily broadcasts in the early 1960s. He was reading a story "cold" (going on the air without pre-reading his copy, contrary to his usual practice) which contained the phrase "She suffered a near fatal heart attack". The line came out of Thomas's mouth as "She suffered a near fart ... err fatal heart attack". Realizing instantly what he had said, he tried to continue but eventually collapsed into gales of laughter, which continued into - and beyond - his announcer's chuckling sign-off for the day. Thomas' long-time friend and ghostwriter Prosper Buranelli wrote the nightly newscasts. The day's script was sent by teletype to Thomas' home in Pawling, NY from which he usually did his broadcast. One evening, Buranelli's final story was about an actress going into a Los Angeles hotel with a Great Dane. The dog's tail got caught in the revolving door and she sued the hotel for $10,000. Buranelli added a comment to the story to give Thomas a laugh before going on air, but Thomas read the story as written with Buranelli's comment, "Who ever thought a piece of tail was worth 10 grand?" Another on-air mishap had Thomas reading a story about President Eisenhower's visit to Hershey, Pennsylvania "where he was greeted by the folks who make chocolate bars, with and without nuts." ("Nuts" is a euphemism for "testicles.") As Thomas read the next story, he could hear the announcer breaking up with laughter in the New York City studio, which caused Thomas to break up, as well. Air checks of some of Thomas' gaffes (as well as recreations of his "bloopers") are available to collectors. CANNOTANSWER | eventually collapsed into gales of laughter, which continued into - and beyond - his announcer's chuckling sign-off for the day. | Refers to the travel journalist. For the eponymous travel journalism awards program, see Lowell Thomas Travel Journalism Awards.
Lowell Jackson Thomas (April 6, 1892 – August 29, 1981) was an American writer, actor, broadcaster, and traveler, best remembered for publicising T. E. Lawrence (Lawrence of Arabia). He was also involved in promoting the Cinerama widescreen system. In 1954, he led a group of New York City-based investors to buy majority control of Hudson Valley Broadcasting, which, in 1957, became Capital Cities Television Corporation.
Early life
Thomas was born in Woodington, Darke County, Ohio, to Harry and Harriet (née Wagoner) Thomas. His father was a doctor, his mother a teacher. In 1900, the family moved to the mining town of Victor, Colorado. Thomas worked there as a gold miner, a cook, and a reporter on the newspaper.
In 1911, Thomas graduated from Victor High School where one of his teachers was Mabel Barbee Lee. and began work for the Chicago Journal, writing for it until 1914. Thomas also was on the faculty of Chicago-Kent College of Law (now part of Illinois Institute of Technology), where he taught oratory from 1912 to 1914. He then went to New Jersey where he studied for a master's at Princeton University (he received the degree in 1916) and again taught oratory at the university.
Career
Thomas was a relentless self-promoter, and he persuaded railroads to give him free passage in exchange for articles extolling rail travel. When he visited Alaska, he hit upon the idea of the travelogue, movies about faraway places. When the United States entered World War I, President Wilson sent him and others to "compile a history of the conflict", but the mission was not academic. The war was not popular in the United States, and Thomas was sent to find material that would encourage the American people to support it. He did not want to merely write about the war, he wanted to film it.
Lawrence of Arabia
Thomas and cameraman Harry Chase first went to the Western Front, but the trenches had little to inspire the American public. They then went to Italy, where he heard of General Allenby's campaign against the Ottoman Empire in Palestine. Thomas traveled to Palestine as an accredited war correspondent with the permission of the British Foreign Office. In Jerusalem, he met T. E. Lawrence, a captain in the British Army stationed in Jerusalem. Lawrence was spending £200,000 a month encouraging the inhabitants of Palestine to rebel against the Turks. Thomas and Chase spent several weeks with him in the desert, although Lawrence had told them that it would be "several days". Lawrence agreed to provide Thomas with material on the condition that Thomas also photograph and interview Arab leaders such as Emir Feisal.
Thomas shot dramatic footage of Lawrence, then returned to America and began giving public lectures in 1919 on the war in Palestine, "supported by moving pictures of veiled women, Arabs in their picturesque robes, camels and dashing Bedouin cavalry." His lectures were very popular and audiences large, and he "took the nation by storm" in the words of one modern biographer. He agreed to take the lecture to Britain, but only "if asked by the King and given Drury Lane or Covent Garden" as a lecture venue. His conditions were met, and he opened a series at Covent Garden on August 14, 1919. "And so followed a series of some hundreds of lecture–film shows, attended by the highest in the land".
At the opening of his six-month London run, there were incense braziers, exotically dressed women dancing before images of the Pyramids, and the band of the Welsh Guards playing accompaniment. Lawrence saw the show several times. He later claimed to dislike it, but it generated valuable publicity for his book. To strengthen the emphasis on Lawrence in the show, Thomas needed more photographs of him than Chase had taken in 1918. Lawrence claimed to be shy of publicity, but he agreed to a series of posed portraits in Arab dress in London.
Thomas genuinely admired Lawrence and continued to defend him against attacks on his reputation. Lawrence's brother Arnold allowed Thomas to contribute to T.E. Lawrence by his Friends (1937), a collection of essays and reminiscences published after Lawrence's death.
Cinerama
Thomas was a magazine editor during the 1920s, but he never lost his fascination with the movies. He narrated Twentieth Century Fox's Movietone newsreels until 1952, when he went into business with Mike Todd and Merian C. Cooper to exploit Cinerama, a film exhibition format using three projectors and an enormous curved screen with seven-channel surround sound. He produced the documentaries This is Cinerama, Seven Wonders of the World, and Search for Paradise in this format in 1956, with a 1957 release date.
Radio commentator and newscaster
Thomas was first heard on radio delivering talks about his travels in 1929 and 1930: for example, he spoke on the NBC Radio Network in late July 1930 about his trip to Cuba. Then, in late September 1930, he took over as the host of the Sunday evening Literary Digest program, replacing the previous host, Floyd Gibbons.
On this program, he told stories of his travels. The show was fifteen-minutes long, and heard on the NBC Network. Thomas soon changed the focus of the program from his own travels to interesting stories about other people, and by early October 1930, he was also including more news stories. It was that point that the program, which was now on six days a week, moved to the CBS Radio network.
After two years, he switched back to the NBC Radio network but returned to CBS in 1947. He was not an employee of either NBC or CBS, contrary to today's practices, but was employed by the broadcast's sponsor Sunoco. He returned to CBS to take advantage of lower capital-gains tax rates, establishing an independent company to produce the broadcast which he sold to CBS. He hosted the first television news broadcast in 1939 and the first regularly scheduled television news broadcast beginning on February 21, 1940 over W2XBS (now WNBC) New York, which was a camera simulcast of his radio broadcast.
In the summer of 1940, Thomas anchored a television broadcast of the 1940 Republican National Convention, the first live telecast of a political convention, which was fed from Philadelphia to W2XBS and on to W2XB. He was not actually in Philadelphia but was anchoring the broadcast from a New York studio and merely identifying speakers who addressed the convention.
In April 1945, Thomas flew in a normally single-person P-51 Mustang over Berlin while it was being attacked by the Soviet Union, reporting live via radio.
In 1953, Thomas was featured in The Ford 50th Anniversary Show that was broadcast simultaneously on the NBC and CBS television networks. The program was viewed by 60 million persons. Thomas presented a tribute to the classic days of radio.
His persistent debt problems were remedied by Thomas' manager/investing partner, Frank Smith who, in 1954, became the President of co-owned Hudson Valley Broadcasting Company, which, in 1957, became Capital Cities Television Corporation.
The television news simulcast was a short-lived venture for Thomas, as he favored radio. It was over radio that he presented and commented upon the news for four decades until his retirement in 1976, the longest radio career of anyone in his day, since surpassed by Paul Harvey. His signature sign-on was "Good evening, everybody" and his sign-off was "So long, until tomorrow," phrases that he used as titles for his two volumes of memoirs.
Personal life
Thomas' wife Frances often traveled with him. She died in 1975, and he married Marianna Munn in 1977. They embarked on a honeymoon trip that took him to many of his favorite old destinations. Thomas died at his home in Pawling, New York in 1981. He is buried in Christ Church Cemetery. Marianna died in Dayton, Ohio on January 28, 2010 after suffering renal failure.
Legacy and honors
The communications building at Marist College in Poughkeepsie, New York is named in honor of Thomas, after he received an honorary degree from the college in 1981. The Lowell Thomas Archives are housed as part of the college library. In 1945, Thomas received the Alfred I. duPont Award. In 1971, Thomas received the Golden Plate Award of the American Academy of Achievement. In 1976, President Gerald Ford awarded him the Presidential Medal of Freedom. He has two stars on the Hollywood Walk of Fame and was inducted into the National Radio Hall of Fame in 1989. The Thomas Mountains in Antarctica are named for him.
Published works
Among Thomas's books are:
With Lawrence in Arabia, 1924
The First World Flight, 1925
Beyond Khyber Pass, 1925
Count Luckner, The Sea Devil, 1927
European Skyways, 1927
The Boy's Life of Colonel Lawrence, 1927
Adventures in Afghanistan for Boys, 1928
Raiders of the Deep, 1928
The Sea Devil's Fo'c'sle, 1929
Woodfill of the Regulars, 1929
The Hero of Vincennes: the Story of George Rogers Clark, 1929
The Wreck of the Dumaru, 1930
Lauterbach of the China Sea, 1930
India--Land of the Black Pagoda, 1930
Rolling Stone: The Life and Adventures of Arthur Radclyffe Dugmore., 1931 See Arthur Radclyffe Dugmore
Tall Stories, 1931
Kabluk of the Eskimo, 1932
This Side of Hell, 1932
Old Gimlet Eye: The Adventures of General Smedley Butler, 1933
Born to Raise Hell, 1933
The Untold Story of Exploration, 1935
Fan Mail, 1935
A Trip to New York With Bobby and Betty, 1936
Men of Danger, 1936
Kipling Stories and a Life of Kipling, 1936
Seeing Canada With Lowell Thomas, 1936
Seeing India With Lowell Thomas, 1936
Seeing Japan With Lowell Thomas, 1937
Seeing Mexico With Lowell Thomas, 1937
Adventures Among the Immortals, 1937
Hungry Waters, 1937
Wings Over Asia, 1937
Magic Dials, 1939
In New Brunswick We'll Find It, 1939
Soft Ball! So What?, 1940
How To Keep Mentally Fit, 1940
Stand Fast for Freedom, 1940
Pageant of Adventure, 1940
Pageant of Life, 1941
Pageant of Romance, 1943
These Men Shall Never Die, 1943
Out of this World: Across the Himalayas to Tibet (1951)
Back to Mandalay, 1951
Great True Adventures, 1955
The Story of the New York Thruway, 1955
Seven Wonders of the World, 1956
History As You Heard It 1957
The Story of the St. Lawrence Seaway, 1957
The Vital Spark, 1959
Sir Hubert Wilkins, A Biography, 1961
More Great True Adventures, 1963
Book of the High Mountains, 1964 ()
Famous First Flights That Changed History, 1968 ()
Burma Jack, 1971 ()
Doolittle: A Biography, 1976 ()
Good Evening Everybody: From Cripple Creek to Samarkand, 1976 ()
So Long Until Tomorrow, 1977 ()
Further reading
References
Notes
Sources
Bowen, Norman (ed) (1968) The Stranger Everyone Knows Doubleday
Hamilton, John Maxwell (2011) Journalism's Roving Eye: A History of American Foreign Reporting LSU Press pg 248
External links
With Lawrence in Arabia at Internet Archive
Lowell Thomas interview at American Heritage
"Creating History: Lowell Thomas and Lawrence of Arabia" online history exhibit at Clio Visualizing History.
An Evening with Lowell Thomas (August 13, 1981), on the YouTube-channel of Pikes Peak Library District.
1892 births
1981 deaths
American broadcast news analysts
20th-century American businesspeople
American male journalists
American radio journalists
American travel writers
Peabody Award winners
People from Darke County, Ohio
Presidential Medal of Freedom recipients
University of Denver alumni
Princeton University alumni
Valparaiso University alumni
T. E. Lawrence
Royal Canadian Geographical Society fellows | false | [
"What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy",
"What Happened may refer to:\n\n What Happened (Clinton book), 2017 book by Hillary Clinton\n What Happened (McClellan book), 2008 autobiography by Scott McClellan\n \"What Happened\", a song by Sublime from the album 40oz. to Freedom\n \"What Happened\", an episode of One Day at a Time (2017 TV series)\n\nSee also\nWhat's Happening (disambiguation)"
]
|
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